Hugh Edwards was an American curator of photography. Belonging to the likes of Alfred Stieglitz, Edward Steichen and John Szarkowski, Edwards was one of the key figures to help the art world embrace fine art photography as well as documentary photography in the United States.
Edwards was also a photographer, however. He worked on a project to document a roller rink in the 1950's, which spanned for a decade. While he was no celebrated photographer, he was the man behind many successes of those whom he have helped.
In 1961, Edwards retired from photography and began to encourage emerging photographers -- Jan Saudek, Duane Michals, Algimantas Kezys, Danny Lyon, to name a few -- and was the first to offer solo shows of Robert Frank and Raymond Moore. Edwards shaped photography in Chicago, as he would always focus on monographic presentations, the juxtaposition of 'canonized' images by new practitioners.
Moreover, he as the first to champion 19th-century photography as he acquired the works of Julia Margaret Cameron, Roger Fenton, William Henry Fox Talbot. and Alexander Gardner. He also showcased early 20th century photographers -- Ansel Adams, Lewis Hine, Walker Evans, W. Eugene Smith. American photography became a more established institution.
Whether documentary or portraiture, American photographer *Steve Schapiro* knows the best of both worlds. First gaining the reputation as a photojournalist, and capturing the key moments of the African-American Civil Rights movement, he is also known as the photographer of the most iconic people.
Manx photographer Chris Killip's In Flagrante is one of the most important photobooks of documentary photography. We revisit his work that captured the deindustrialization of the working class communities in Northern England during the 70's and 80's.
Cinema has been paying homages to American artist Edward Hopper. But who could complain? The oil painter sure does master realism and color, unlike any other; perfect compositions to recreate on camera.