HARRY CALLAHAN (1912-1999) He became a serious photographer when listening to Ansel Adams talk about taking work seriously. He encouraged his students to turn their cameras on their own lives.

ARON SISKIND (1903-1991) began his photographic career documenting social conditions in the underprivileged areas of New York, and then made a transition toward a form of photographic abstract expressionism.

PAUL CAPONIGRO (1932-) He picked up the camera at 13 and thus started his long carrier as a influential photographer. "At the root of creativity is an impulse to understand, to make sense of random and often unrelated details. For me, photography provides an intersection of time, space, light, and emotional stance. One needs to be still enough, observant enough, and aware enough to recognize the life of the materials, to be able to 'hear through the eyes'."

ROBERT FRANK (1924- ) in the mid-1950s he travelled across the United States and the photographs from that odyssey were published in The Americans, a landmark portrait of an entire nation that influenced a whole generation of photographers.

"When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice." Robert Frank

DIANE ARBUS (1923 – 1971) came from an affluent family in New York and because of the family's wealth; Diane was insulated from the effects of the Great Depression while growing up in the 1930’s

“I always thought of photography as a naughty thing to do - that was one of my favorite things about it, and when I first did it, I felt very perverse.” “I really believe there are things nobody would see if I didn't photograph them.”

GARRY WINOGRAND (1928 –1984) A street photographer influenced by Walker Evans, Robert Frank, and Henri Cartier-Bresson. His prolific work involved rapidly photographing subjects with his Leica 35mm using a prefocused wide angle lens. "I don't have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions." "I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both."

LEE FRIEDLANDER (1934-) Lee Friedlander studied photography in California and then moved to New York where he started earning money as a Jazz photographer for album covers. He then joined the many other urban landscape photographers. He was a man of few words. While attending a meeting on a forthcoming book about the deepest secrets of photographers, Lee was the first speaker, and stated that he had nothing to say about his photography but started a slide show of 360 shots. Many slides later someone quipped out "Where did you make that one, Herr Friedlander?" He replied Toledo, and then identified where each slide was taken from, only to be interrupted again politely what it mattered if this particular shot was taken in Chattanooga. “Friedlander considered the question for a moment and, with a respectful seriousness of manner that I have no reason to believe feigned, said yes, he thought it was relevant that the picture had been made in Chattanooga, because if he (Friedlander) had not been in that city he would not have been able to make that picture.” John Szarkowski

EUGENE RICHARDSON ((born 1944-) In the 1960’s he volunteered for VISTA and was a civil rights activist. He used his master’s degree in photography from MIT under the tutelage of Minor White to augment his social commentary.

DONNA FARATO (????-????) Donna describes her conversion into a influential social photographer when as a young woman innocently documenting the libidos of rich suburban couples of Paris, when she witnessed and photographed a drug induced beating of a helpless wife. This led to her first book Living with the Enemy. Many of the images from that time on include sex clubs, violence in the home,

teenagers, problem children, love among the elderly. Grazia Neri said that he and Donna were shuffling though her photographs and interspersed were shots of her and her family, and he noticed it was hard to distinguish them from the much publicized usual fare and then noted that the reason lie in the fact that her unprejudiced and open approach towards the intimacy of others, and managing to break down embarrassing and contorted barriers.

NICHOLAS NIXON (1947-) When the majority of photographers were shooting with 35mm film, Nicolas, who was influenced by the work of Edward Weston and Walker Evans, he took up the burden of the 8X10. "When photography went to the small camera and quick takes, it showed thinner and thinner slices of time.” This was his interpretation of the handy small cameras. Nixon preferred the format because it allowed prints to be made directly from the 8x10 inch negatives, retaining the clarity and integrity of the image.

GILLES PERESS (1946-) Is a photojournalist from France who cut his teeth with the decimation of life in a coal mining town and the strife that labor had there. Soon afterwards he joined the renowned photojournalist organization Magnum Photos, and spent the next 20 years covering Irish civil rights struggle. He has also covered conflicts in Yugoslavia, Iran, and Rwanda. "I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still-life’s, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I don't care that much anymore about "good photography." I'm gathering evidence for history, so that we remember"

PHILIPPE HALSMAN (1906 -1979) was a portraitist mostly in the fashion industry known for his sharp and closely cropped images. Soon his new style led him to be the most sought after fashion photographer. When France was invaded he solicited his friend Albert Einstein for help in obtaining a visa for the United States, where he continued his success in the fashion industry.

ARNOLD NEWMAN (1918-) Arnold Newman is the father of the “environmental portraits”, meaning that instead of getting your portrait done the same I irregardless of what you do or feel, your portrait will reflect something about you or your craft. “I am always lining things up, measuring angles, even during this interview. I'm observing the way you sit and the way you fit into the composition of the space

around you.” “There are very few Cartier-Bressons, Brassais, and W. Eugene Smiths in the world, but to me these men are photographers. They are artists because they make statements that all of us wish we could have made”

DIETER APPELT (1935-) Dieter Appelt has been a Professor of Photography, Film and Video at the Hochschule der Kunst in Berlin since 1982. He studied photography at the Academy of Fine Art in Berlin as well as music at Leipzig and Berlin Music Academies. Appelt's work of the late 70's & 80's was typically related to performance art and often incorporated a level of sculptural construction. He began photographing to record his performance in outdoor settings -for some of these performances he built structures out of branches and positioned himself within the construct - a tower roughly crafted of tree branches, a slab cut into the ice, and mud as a protective yet primal second skin. Duration and decay are persistent themes in Appelt's photographs. He often uses exposures that are hours long in an attempt to record the effects of the passage of time.

ANDRZE LACHOWICZ (1939-) From the 60s Lachowicz study focused on the visual language of photography. In 1964 he began a series of shadows, which continues to this day. The work of a series of topologies started in 1966 and continued until the end of the 80s, when the work took on the nature of self-quotation. From the late 60s he also produced the best-known works from the series transplants repeatedly exposing the image of clasped hands. Lachowicz developed the theory of permanent art,

which were highlighted aspects of the visualization of these ideas were, among others entitled Persuasion visual and mental.

KENNETH JOSEPHSON (1932-) A leader in conceptual photography and purveyor of photolithography. "Certain visual traces are like evidence. The event itself has passed but it has left information - marks, for example - and those marks are held there forever in time, like a photograph holds information as long as it lasts... It's very mysterious to me to come upon something like that in reality and have it explain itself - to have it give evidence of what occurred then."

RAY K. METZKER (1931-) From his early education at The Art Institute of Chicago in the late 50s Ray K. Metzker inherited the rich vocabulary of avant-garde photography between the wars: photomontage, solarization, multiple printing of negatives, unique perspectives, diagonals, etc. From his first exposure to photography, Metzker never lost the urge to experiment with the grammar and syntax of the medium, whether it was games played within the camera itself (the Doubleframes, for example) or complex manipulations in the darkroom (the celebrated Composites). He has drawn inspiration from the neighborhoods where he has lived (mainly Chicago and Philadelphia) and, increasingly, from nature--though the vegetation he depicts might be a weed-clogged vacant city lot as easily as the vast open plains of the American West. Decomposing, recomposing, deconstructing, reconstructing, Metzker reminds us of the great and inexhaustible potential of black-and-white photography when practiced by a master. With 180 tritone-printed images, this publication offers a rare opportunity to examine the full range of Metzker's brilliant and ever-evolving formal language. (FROM AMAZON)

M. RICHARD KIRSTEL started his carrier as a in the navy a journalist/photographer and still enjoys a career as a photographer and teacher of photography. “In its essence photography describes. It mediates the nature of what is. Regardless of personals eccentricities of craft and process the photographer is required by the imminence of the medium to look through the camera at the actuality of the environment. Even if that environment had been previously manipulated the point of address is nevertheless to what is there before the lens.”

ARTHUR TRESS (1940-) American photographer. Beginning with haunting documentary photographs of deserted Coney Island in the late 1950s, and progressing through surrealistic imagery in The Dream Collector (1970), Tress has explored the role of fantasy, nightmare, and imagination in a variety of contexts. He is perhaps best known for his gay male fantasy pictures composed along New York's docks and piers during the late 1970s and published in Facing up (1980). Subsequently Tress turned to colour photography of ‘found object’ collages. Fantastic Voyage, a career retrospective, was exhibited in 2001.

(1944-) For many years Joyce Neimanas has experimented without a camera. Her computer-generated images use advertisements, art reproductions, and comic books to create humorous collages that explore contemporary gender roles. An example of a comic-book figure ironically standing in for a contemporary woman, the flying heroine in Heroicomic’s lower left panel states: “I dance topless in the worst part of New York City! I know how to defend myself!” Joyce Neimanas’s digitally created montages of recognizable styles and signs suggest the ludicrous and the burlesque. Heroicomic is Neimanas’s personal fiction written with information garnered from the imagery of advertising, art history, and pop culture.

DENIS BRIHAT (1928-) After a short period at the Rue de Vaugirard photography school, he continues his training in the field and begins to practice his craft within various disciplines: architecture, industry, reporting, portraits. Living in seclusion on the Plateau des Claparèdes, deserted at the time, he at last can practice the photography he always longed for: penetrating and experiencing that Nature, revealing its complexity and beauty.

JEAN DIEUZAIDE (1921-2003) Dieuzaide, who dominated the photographic culture of the city of Toulouse in south-west France for over two decades, was a photographer in the classic French style. He saw photography as a mystical practice, surrounded by rhetoric, and represented a European tradition which by turns was exclusive, disapproving, energetic and innovative: “People often think that it is necessary to go to the far end of the world to act as a photographer." “Photography helped me to discover the leaf of a tree, then the tree itself, then the landscape of which it is a part and the man who comes to speak with it, or rest in its shadow.”

ARTHUR SIEGEL (1913- 1978) Arthur Siegel crafted intricate photograms and graphic documentary photographs early in his career. In the late 1940s and 50s, he introduced creative methods of back-lighting and projecting light onto surfaces, as well as an innovative use of color in both experimental and documentary photographs. Photogram 1 from 1973 is characteristic of Siegel’s later photograms in its simplicity and conceptual nature. All of his explorations – with photograms, applications of Polaroid film, and combination printing – were designed to explore the singular characteristics of a medium based on light.

FRANCO FONTANA (1933-) He is best known for his abstract color landscapes. Fontana's photos have been used as album cover art for records produced by the ECM jazz label. He is known as the inventor of the photographic line referred to as concept of line.

BARBRA NORFLEET (1926-) In an offshoot of war photography, some contemporary American photographers have turned to documenting the military-industrial complex purportedly designed to maintain this country’s preparedness for conflict. Barbara Norfleet, who has long been interested in the social history of the United States, channeled her involvement with the vernacular to examine various sites around the country linked to the culture of combat, such as this New Mexico museum. Born in 1926, Barbara Norfleet served from 1966 to 1981 as a senior lecturer in visual and environmental studies at the Carpenter Center for the Visual Arts at Harvard University, where she is still curator of photography.

THOMAS BARROW (1938- ) studied with Aaron Siskind at the Art Institute of Design, Chicago, and graduated with an M.A. in graphic design in 1967. He also studied film with Jack Ellis at Northwestern University. At the George Eastman House, he was Curator of Exhibitions in 1965, Assistant Director from 1971-1972, and became editor of Image in 1972. The Associate Director of the University Art Museum, University of New Mexico, from 1973-1976, Barrow began teaching photography in the Art Department in 1976 and was Acting Director of the University Art Museum in 1985. He has received two NEA Photographers Fellowships (1973; 1978) and is also a publication designer.

ANDY WARHOL (1928 - 1987) much of his photography was a reference point for his painting. “I suppose I have a really loose interpretation of "work," because I think that just being alive is so much work at something you don't always want to do. The machinery is always going. Even when you sleep.” “Isn't life a series of images that change as they repeat themselves?” “My idea of a good picture is one that's in focus and of a famous person.” “When I got my first television set, I stopped caring so much about having close relationships.”

LOUIS PIERSON (1822 - 1913) Pierre-Louis Pierson opened a daguerreotype studio in 1844. He later began a partnership with Leopold Ernest and Louis Frederic Mayer. They kept separate studios but distributed their images under the title “Mayer et Pierson.” The two became the leading society photographers in Paris In 1861.

LEWIS HINE (1874 – 1940) was an American sociologist and photographer. Hine used his camera as a tool for social reform. His photographs were instrumental in changing the child labor laws in the United States. “If I could tell the story in words, I wouldn't need to lug around a camera.” “While photographs may not lie, liars may photograph.

W. EUGENE SMITH (1918 – 1978) Was known for his incessant perfectionism and thorny personality. Mostly known for his war photography and publicizing the Minamata disease to the world. ‘I've never made any picture, good or bad, without paying for it in emotional turmoil.” “Never have I found the

limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.”

INGE MORATH RICH (1923 – 2002) was an Austrian-born photographer.[1] In)Morath was briefly married to the British journalist Lionel Birch and relocated to London in 1951. That same year, she began to photograph during a visit to Venice. "It was instantly clear to me that from now on I would be a photographer", she wrote. "As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes." Morath worked as a still photographer on numerous motion picture sets. Having met director John Huston while she was living in London, Moulin Rouge was one of Morath's earliest assignments, and her first time working in a film studio. When Morath confessed to Huston that she had only one roll of color film to work with and asked for his help, Huston bought three more rolls for her, and occasionally waved to her to indicate the right moments to step in with her camera. Huston later wrote of Morath that she "is a high priestess of photography. She has the rare ability to penetrate beyond surfaces and reveal what makes her subject tick." The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera.”

JACOB RIIS (Jacob August Riis (May 3, 1849 - May 26, 1914) was a Danish American social reformer, "muckraking" journalist and social documentary photographer. He is known for using his photographic

and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the topic of most of his prolific writings and photography. He endorsed the implementation of "model tenements" in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered a developer of photography. While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people.

MAN RAY (1890 – 1976) was an American artist who spent most of his career in Paris, France. Perhaps best described simply as a modernist, he was a significant contributor to both the Dada and Surrealist movements, although his ties to each were informal. Best known in the art world for his avant-garde photography, Man Ray produced major works in a variety of media and considered himself a painter above all. He was also a renowned fashion and portrait photographer. He is noted for his photograms, which he renamed "rayographs" after himself.

CLARANCE JOHN (1905 - 1985) was a United States photographer best known for his surrealist photographs of the U.S. South. “It should be possible for even the photographer - just as for the creative poet of painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.” “I attempt, through much of my work, to animate all things—even so-called “inanimate” objects--with the spirit of man. I have come, by degrees, to realize that this extremely animistic projection rises, ultimately, from my profound fear and disquiet over the accelerating mechanization of man’s life; and the resulting attempts to stamp out individuality in all spheres of man’s activity--this whole process being one of the dominant expressions of our military-industrial society. The creative photographer sets free the human contents of objects; and imparts humanity to the inhuman world around him.”

PAUL STRAND (1890 – 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa. “The material of the artist lies not within himself nor in the fabrications of his imagination, but in the world around him. The element which gives life to the great Picassos and Cezannes, to the paintings of Van Gogh, is the relationship of the artist to context, to the truth of the real world. It is the way he sees this world and translates it into art that determines whether the work of art becomes a new and active force within reality, to widen and transform man's experience. The artist's world is limitless. It can be found anywhere far from where he lives or a few feet away. It is always on his doorstep “

EDWARD WESTON (1886 – 1958) another champion of the large format camera. He has two shots in the list of highest priced at auction. “My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.” “This then: to photograph a rock, have it look like a rock, but be more than a rock.” “Anything that excites me, for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.” “Photography to the amateur is recreation, to the professional it is work, and hard work too, no matter how pleasurable it may be.” “The camera sees more than the eye.”

ANSEL ADAMS (1902 – 1984) a environmentalist and champion of the zone system a unique approach to film exposure and development invented by Ansel Adams and Fred Archer in 1939–1940. “Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space. I know of no sculpture, painting or music that exceeds the compelling spiritual command of the soaring shape of granite cliff and dome, of patina of light on rock and forest, and of the thunder and whispering of the falling, flowing waters. At first the colossal aspect may dominate; then we perceive and respond to the delicate and persuasive complex of nature.” “Twelve significant photographs in any one year is a good crop.”

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IMOGEN CUNNINGHAM (1883 – 1976) The reluctant photographer, she bought her first camera in 1919, but lost interest in it. She caught the camera bug again when investigating the work of Gertrude Käsebier, but again circumvented herself by studying the chemistry behind photography. She later subsidized her tuition by photographing plants for the botany department. With a scholarship in hand she went to Germany, once again avoiding the camera for the book and wrote About the Direct Development of Platinum Paper for Brown Tones Once back in Seattle she opened her own studio and won acclaim for portraiture and pictorial work. (That is her on the right above in the Ansel Adams shot)