Josef Astor’s star first rose in the world of assignment photography, when he started working for such publications as Vanity Fair, the New York Times magazine, Newsweek, Esquire, Rolling Stone, and the New Yorker. His work doesn’t just illustrate text, but transcends his assignments, standing alone as artistic statements.
Pierre Beteille is a self-taught talent in Paris who has an unbridled humor and wit. He takes pride in never having read a book, watched a tutorial or taken a class on photo manipulation. His digital creations are highly original, each image functioning as both a punchline and an act of rebellion.
Joel Grimes makes his living in commercial photography but has a parallel career in art. Grimes combines an artistic vision with an impressive fluency in the technical aspects of photography, creating images that make viewers see the world anew.
Ted Grudowski has been taking 3D photographs since he was 17. Working for MSN, Grudowski has the opportunity to take 3D photographs of a number of high-profile artists. He then drops those images into the computer and runs them through the eclectic filter of his unconscious.
Claudia Kunin worked for years as a commercial photographer before experiencing a transformational moment and devoting her life to fine-art photography. Her 3D photography is dedicated to exploring the past, making connections and expressing the inexpressible.
Chris Levine burst onto the scene in 2004 when he was hired to take the first 3D photographs of Queen Elizabeth II. He calls what he does “light-based work,” utilizing lasers, lenticular images and other cutting-edge techniques.
Bonny Pierce Lhotka has made a name for herself by printing her compelling work on extraordinary surfaces, from glass to acrylic to aluminum, and even on more experimental surfaces such as drywall, bamboo and rusty tin. Her work has been exhibited in top collections, including the Smithsonian, where she has been an artist-in-residence.
Khuong Nguyen comes from the demanding world of French advertising photography. At a young age, Nguyen has impressed his peers with his witty takes on surrealism and his mastery of digital techniques.
Mike Pucher works at Disney Animation Studio and pursues his own art in his free time. He began creating 3D images as simple and bold statements of composition, pictures that open up to viewers.
Jean-Francois Rauzier, working in Paris, coined the term hyperphoto to describe his technique of dropping hundreds and sometimes thousands of photographs into a single image, often weighing in at up to 40 gigabytes in size. Each image has a stunning resolution and complexity, marrying microcosm to macrocosm.
Martine Roch has pursued an artistic style that reflects her love of animals. Her digital creations have become an Internet sensation on the photo-sharing site Flickr, and now, have become available commercially throughout the world
on notebooks and postcards.
Christopher Schneberger is a traditionalist and an iconoclast. He has created photographic series of both infrared and mural-sized photographs. His work often weaves a narrative tale incorporating supernatural elements.
Brooke Shaden’s photographs seem like little films, complete with character, tension and a lush visual sense that might easily be called cinematography. One of her exhibited photographs was recently selected by director Ron Howard as one of eight photos used to inspire a short film.
Stanley Smith’s distinctive style revolves around arrangements: Instead of waiting for a “decisive moment” to take a masterful photo, Smith prefers to arrange items in a way he feels is aesthetically pleasing. The digital revolution has allowed him to build immense detail and complexity into his work.
Maggie Taylor became a towering figure in photography in the 1990s when she learned Photoshop and began creating her unmistakable artistic fingerprint. Utilizing scanned images, tintypes of 19th-century subjects and pure imagination, she creates a world that is simultaneously of the past and of the future, and a photographic grammar that is both provocative and embracing.
Jerry Uelsmann was experimenting with the manipulation of images through darkroom techniques as early as the 1950s, while the mainstream remained skeptical. When Photoshop appeared in 1990, the creative process involved in making photographs changed. Today, the photography world has finally caught up with Uelsmann, making him the undisputed father of photographic manipulation.
Jean-Marie Vives was one of the first matte painters for films in France, working on acclaimed movies by Alain Resnais and Jean-Pierre Jeunet. His photographs are so masterfully created that they often look like paintings, and likewise, his paintings are often as detailed and convincing as photographs.