Issue No. 5
Susan Ehrens looks at the life and work of Milton Halberstadt, who studied under Lázló Moholy-Nagy at the Chicago School of Design, producing a fascinating body of work in classic Bauhaus style, before going on to a successful career as a commercial photographer in San Francisco.
To Parker-Little, like so many other early photographers, making pictures was an avocation. Yet he was prolific and versatile. His entire body of work would have been lost had it not been discovered at a furniture auction.
A self-taught photographer, Simmons captured the people and places of rural Jackson County, Georgia — his work comes to light 60 years after his death.
He was bitten by the the photography bug in France in world War I. Back home in St. Louis, he set up a studio and did theatrical work as brilliantly as anyone in Hollywood.
Joining the socially engaged Photo League in 1936, Engel, only 18, captured life on the streets of Harlem, shooting his subject with a Rolleiflex from the hip.
To Teske, a poet/photographer, the image of a single negative could not limit his imagination — he started playing with composites, making wonderful new observations.
Growing up in orphanages and foster homes, Heath was able to see and shoot faces and moments that expressed his own anguish — as well as that of entire generation.
Inspired by Edward Weston and tutored by Ansel Adams, Mandel went on to capture a vision of her own, with sky and ocean being the main focus of her mature eye.
When Brett Weston was asked about a colleague with exceptional talent, he would always mention Donald Ross. A commercial photographer who left it all for the pursuit of his ideals, Ross worked in the quiet for 45 years, creating some of the most sublimely beautiful images of his time.
Rising from a dark childhood in depression-era Germany, she reshaped her life with images of light and tranquility.
Fee’s passion for the past feeds his creative force, and turns his bleak, dark-toned images — with their scars and scratches, stains and tears — of American icons and industrial-era remnants into stirring commentaries on the state of our world at the end of an era.