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One of Japan’s most prominent photographers, Naoya Hatakeyama is known for austere and beautiful large-scale pictures that capture the extraordinary forces we deploy to shape nature to our will — and, in photographs made after the 2011 Tohoku earthquake and tsunami, the equally powerful impact of natural forces on human construction. Whether photographing factories, quarries, mines, or his tsunami-swept hometown in northeastern Japan, Hatakeyama is a keen observer of landscapes in transition, witnessing scenes of transformation with calm precision.

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Lee Friedlander, born in 1934, began photographing the American social landscape in 1948. With an ability to organize a vast amount of visual information in dynamic compositions, Friedlander has made humorous and poignant images among the chaos of city life, dense natural landscape, and countless other subjects. Friedlander is also recognized for a group of self-portraits he began in the 1960s, reproduced in Self Portrait, an exploration that he turned to again in the late 1990s, and published in a monograph by Fraenkel Gallery in 2000.

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Gordon uses screen sin order to present short films and videos of his art. Much of Gordon's work is seen as being about memory and uses repetition in various forms. He uses material from the public realm and also creates performance-based videos. His work often overturns traditional uses of video by playing with time elements and employing multiple monitors.

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Yass is noted for her films and brightly coloured photographs. Her stills present an image which is usually a combination of the positive and negative. Many of her works are mounted on light boxes. Yass's subjects are varied: her early works often depict the people and institutions who commissioned, supported, or curated her work. Later she concentrated on interiors, making a series of photos of Smithfields Market in London, and another, Corridor(1994), of a mental hospital. Other series included shots of toilets, steel mills in Wales and Star, a series of pictures of Indian Bollywood stars displayed alongside pictures of empty cinemas.

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"I employ these grids and barriers in order to dissect, pixelate, filter and flatten landscapes and space. Subjects and figures are broken apart and reconstructed in such a way that they are both integrated into their environments and isolated within them. None of the subjects in my photographs have any discernible features; rather they are faceless characters whose identities are defined by their surroundings. Although the photographs originate from 35mm negatives, I hope to reference both video technology and painting techniques."

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Using a process that could be the new definition of meticulous, Korean sculptor Seung Mo Park creates giant ephemeral portraits by cutting layer after layer of wire mesh. Instead of shooting through mesh, the photographer projects an image onto mesh and begins to replicate the photograph into the mesh so that it is there without the projection.

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In his 2009 series of installations entitled “Cement Bleak,” artist Isaac Cordal molded the forms of faces into strainers

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A cool and interesting technique that definitely makes the images a little more interesting than the usual head shots. I probably wouldn’t use one as your LinkedIn profile photo, but it makes for some cool creative portraits. Use of a mesh sheet of wire.