Issue No. 35
Sean Ross, an American transplanted to New Zealand and a pro-traditionalist, had a hard time connecting with like-minded enthusiasts, so he launched a website catering to “analog” photographers.
This spry octogenarian can look back on a life in photography full of extraordinary experiences and accomplishments. Shooting for LIFE in the late 1940s, and later for all the famous picture magazines of the day, he is responsible for many of our most well-known icon images.
Like fairy tales, her images transport their viewers to a world of childlike enchantment, one that is comfortably familiar yet filled with dark wonder and mystery.
He was always drawn to sacred places, first documenting Indian burial mounds in Ohio before travel-ing to the Yucatan as well as the Hebrides and Orkney Islands in search of places held holy by indigenous people. Eventually moving to Santa Fe, from where he could easily visit and revisit the isolated northwest corner of New Mexico, he found his own “sacred place.“
She sees photographs all around her—hidden in cracks on the sidewalk, floating in the surface of a storm puddle…
A photographer for over four decades—with several books and numerous exhibitions to his credit—he has lately explored a new way of making portraits.
Moving to Montana, her creative spirit was rejuvenated by the spectacular vistas surrounding her.
This “Ansel Adams of Scotland” braves the wilderness of his native land to capture the scenes before his inner eye.
Moved by the architectural elements of the city—skyscrapers in light and shadow, angled facades in conflict, geometric patterns of windows—she uses a handheld pin-hole camera as the interpreter of what she sees.
He started out as a poet, but stopped writing, feeling exhausted from too much looking inward. Photography enables him to look outside of himself.
She thinks of herself as a student in the “Cartier-Bresson school of photography”—part journalist, part documentarian, part reporter.