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This is a photo I took related to Michael Kenna's

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this photographer inspires me because i want to be able to shoot photography like Ernst Haas. And they are unique.

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It is very random and unexpected like you never know what is gonna be in the picture.

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The photographer I picked is Ernst Haas. I like his pictures because it really captures life in the 1920's.

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i chose Robert Capa because his photos are in black and white but it still has meaning and emotions.

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The photographer that I found inspiring was Teun Hocks. Most of Teun Hocks paintings consist of images mostly of himself doing something that is very fictional in other words impossible. What attracts me to these images are the way that he has tied himself in every painting he has made. I think every image he has, has a specific meaning because of how much thought is put into every detail and how different his images are compared to anyone else's. These last few lessons that we've been focused on have really interested me. What I want to accomplish in my images is to have pictures with a purpose and to have different ways of taking photos.

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Michael Kenna is the photographer that Iook up to. He is most well known for black and white landscapes.

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Richard Avedon is my inspiring photographer. He was a portrait and fashion photographer from the era of the 1940's to early 2000's. He did not see himself as a street photographer, but he did do some of these throughout his life. His main goal was to try to capture the subject's authenticity and their genuine self.

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This is the photo that I took to relate to his photos

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Product Categories G. Brad Lewis | Volcano Art Center

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The Soft Pastel Still Life Workshop will be held on Saturday, June 30, from 9am -Noon at Volcano Art Center. Exaggerate! Be bold with

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G. Brad Lewis - Photographer @ volcanoman.com - GBL-VLO-16  -  Aerial view of eruption in a rocky shore releasing vapor

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My photographer is G. Brad Lewis. He is the leading photographer when it comes to volcanos. He focuses on nature and trying to keep nature as pure as possible and keeping people updated on how inspiring raw nature can be.

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My photographer is Ansel Adams. His work is based off of cool landscapes in black and white

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My photographer is Jay Maisel. His photos are simple, he doesn't use fancy lighting or cameras.

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My photographer of choice is Bryce Hall. Bryce uses more of light made by man. He focuses on one object then uses man made light to highlight that object.

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Look at Michael Kenna's images, I want to pursue landscapes more while still capturing rustic items. Both can easily draw a viewer in, but it is how you represent what you are depicting that makes it an image of worth.

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RISING TIDE, AULT, PICARDY, FRANCE, 2009

MICHAEL KENNA (Born 1953)

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EARLY MORNING STORM, CALAIS, PAS-DE-CALAIS, FRANCE, 1998

MICHAEL KENNA (Born 1953)

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HUANGSHAN MOUNTAINS, STUDY NO 1, ANHUI, CHINA, 2008

MICHAEL KENNA (Born 1953)

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Michael Kenna has become more of an inspirational photographer for me as I continue to discover the vast world beyond my camera lens. Majority of his images depict landscapes, but his settings are different in that he typically captures his images at dusk or during the night. He also saves his images in black and white instead of color.
What attracts me to his images is the visual movement amongst landforms but also the eeriness. The positive and negative space created leaves a viewer with the feeling of the unknown. You are almost thinking to yourself "If I leave, should I leave alone?" and "How should I leave? Running? Slowly walking backwards? Tiptoe? How?"
I particularly find myself taking photographs of rustic items, but abstracting them to draw a viewer in more. My overall goal is to get a viewer to ponder at what I have captured so they are able to draw connections whether that be with something they have seen or something they have done. I think connecting with a viewer on a more personal level is what makes photographs more engaging.
In my images I am trying to accomplish that personal relationship level so that the viewer is asking "Where have I seen something like this before?" "How can I relate to this?" "What is exactly taking place?" "What are the colors trying to communicate to me?"

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Early Years

In 1953, Michael Kenna was born in Lancashire, England, into an Irish Catholic family. From an early age Kenna aspired to be a priest and, aged eleven, began studying at a seminary school. However, art quickly became his strongest subject and at the age of 17 he moved to Banbury School of Art in Oxfordshire. He studied painting and then photography, before going on to pursue a degree in photography at the London College of Printing. Initially Kenna concentrated on commercial photography, however, he soon turned to landscapes after seeing the work of Bill Brandt, Josef Sudek, Eugène Atget and Alfred Steiglitz, who were highly influential on him.

Photographic Career

In 1977 Kenna moved to San Francisco where a number of galleries were willing to showcase his work. He quickly settled into life in California where he has lived and worked as a photographer for over thirty years. He is drawn to certain times of day and night, preferring to photograph in the mist, rain and snow. Clear blue sky and sunshine do not inspire him.

He also only photographs his work in black and white, as he believes, "black and white is immediately more mysterious because we see in colour all the time. It is quieter than colour." He started printing for Ruth Bernard when he moved to San Francisco in 1977 and learnt from the creative license she took with the negative to achieve compositional and tonal precision. Greatly influenced by the transformation of negative to final print undertaken by Bernhard, Kenna patiently makes every print himself, burning and dodging to perfect the balance of each image.

Kenna travels around the world constantly photographing the varied landscapes of the planet, including China, the United States of America, Brazil, Czech Republic and Egypt. However, it is France and Japan that he has returned to most frequently. Kenna looks for interesting compositions and arrangements within the natural landscape. Working in a tradition that owes more to the Romantic landscape painters Caspar David Friedrich, John Constable and J.M.W. Turner than to trends of his contemporaries, Kenna's vision of the landscape sees the human dwarfed by the grandeur of the natural world. He transforms the mundane into the extraordinary by registering the presence and absence of the human in the landscape.

Kenna prefers to photograph on his own, in silence, creating a sense of calm, solitude and tranquillity in his photographs. As he stated, "I prefer suggestion over description. The world is pretty chaotic, seemingly always speeding up and getting louder and more visually dense. I am interested in finding and/or creating calm shelters from the storm, places where quiet and solitude is encouraged and inner contemplation possible. I think we could all use a break from time to time..."

In many ways Kenna is an anachronistic contemporary to the Pictorialists, the pioneering pre-Modernist movement of photographers that saw the atmosphere of the photograph as central to its emotive force. Like the Pictorialist photography of Alfred Stieglitz, Kenna's photography places an emotional hold over its viewer through the atmospheric effects of photographing at night, in crepuscular light or in mist, fog and snow. Kenna does not seek to present an accurate copy of the world, but to extract something original and emotive from it. Kenna prints all his own work in the darkroom, ensuring that the tonality of his small, black and white images is evocative rather than informative, interpretive rather than documentary.

His series Confessionals is a culmination of 10-years work, and a departure from his traditional landscape imagery, in which he documents hundreds of Catholic confessional booths. Confessionals is a typology of confessional booths from a distinct geographical region, Reggio Emilia, Italy, and records booths from the 13th century to the present. The project is deeply rooted in his religious upbringing, each booth is uniformly the focal point of each image, framed by the details of the church interior.

Exhibitions and Awards

Kenna currently lives in Seattle, with his wife and children. His photographs are held in permanent collections at the Bibliothèque Nationale, Paris, The National Gallery of Art, Washington DC, Tokyo Metropolitan Museum of Photography, and the Victoria and Albert Museum in London. He has been exhibited globally including solo exhibitions in the United States, India, Japan and South Korea. Kenna is also the recipient of numerous awards including the Imogen Cunningham Award in 1981 and in 2003 he was made an Honorary Master of Arts at the Brooks Institute, California.

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Michael Kenna | Photographer's Biography & Art Works | Huxley-Parlour Gallery

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Early Years In 1953, Michael Kenna was born in Lancashire, England, into an Irish Catholic family. From an early age Kenna aspired to be a priest and, aged eleven, began studying at a seminary school. However, art quickly became his strongest subject and at the age of 17 he moved...