Issue No. 29
The Big Picture
The history of photography has seen a number of husband and wife teams—Bernd & Hilla Becher, and Hansel Mieth & Otto Hagel (look for feature on the latter in our next issue) come to mind—but few have gone as far as Michael A. Smith and Paula Chamlee in all-encompassing commitment to their common goals, from intimate collaboration to full-fledged marketing of their work. Senior contributing editor Richard Pitnick files his report from a visit with the couple at their rural Pennsylvania home.
In his personal work, this highly regarded London-based commercial photographer combines techniques and methods of conventional photography with experimental use of lenses, film and chemistry to create images that uncover new levels of visual intrigue.
Frequenting New York jazz clubs in the 1940s, he used his camera to make unforgettable portraits of emerging artists who are now household names.
From the Orient to North Africa, she has made it her passion to photograph exotic people and the everyday objects that express roots and rituals—emblems of their culture. She does this with an exceptional eye for detail and a deep respect for cultures that are different from ours.
Virtually unknown in the West, this Japanese master captured a world where the traditional often intersected with the modern. A decade after his death, two California galleries are bringing his work to U.S. audiences.
Leaving battlefields behind, this award-winning war photographer trains his lens on dilapidated industrial sites in post-Communist Eastern Europe.
Searching for artistic satisfaction, he deserts the “grand landscape” for the details of nature.
A long-time printer for Robert Frank and others, he has recently unveiled his own work.
While shooting for such fashion titans as Calvin Klein, Armani, and Levi Straus and mass-media giants like Elle, Esquire, and Rolling Stones, this Montana native always took time out for his passion—the cowboy.
His romantic ballroom images invite the viewer onto the dance floor for a spin in a whirling, twirling room filled with ladies in full-length gowns and men in black ties and coattails.
Having lived everywhere and done everything, this master of the simple life traded formal security for a natural high: “When the light is right, I shoot,” he says.