Fourfront

Every so often I’ll see an another photographers image and think, or even say out loud, “Damn you! That is so f**king great…I wish I’d taken that!” – Here are four of my favourite photographers, whose work causes that mental and verbal outbreak, consistently, time and time again. I won’t go into a huge amount of detail about why I love their work so much, the images speak for themselves. I think maybe they all see the world in a similar way to me? I love the way a lot of the portraits are obviously set-up (although not so in the case of Jim Mortram), but never contrived or false. Put them into whatever category you like – I see them all as superb portrait photographers.

Anyway, this is them. Be inspired.

44649299-JAM_4719_Web-901x600Jim Mortram  – I first became aware of Jim’s work a couple of years ago, he was featured in The British Journal of Photography ‘Cool and Noteworthy’ year end edition. Jim is certainly both. Watch this man, he’s going to be massive…

JIms Website
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10712594_729184783824228_8957715591242964773_oAbigail Steed – Isle of Wight based portrait photographer. I just love Abi’s portraits, I think she’d make a great documentary portrait photographer, I’d like to see her shoot in the middle of China or somewhere.

Abigails Website

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**********35996-10412556-62320015_JPGDaniyel Lowden-Stoole – I’ve followed Daniyel from the very start of his career, he produces those amazing intimate portraits of people his own age, friends, a lot of them, the kind of portraits you can really only get if your subject is totally at ease with you.

Daniyels Website

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Danielle Foreman Acken – a professional food photographer, primarily, but an incredible portrait photographer too. Superb, contemporary, honest pictures of humans…I don’t know what else to tell you!

Danielles Website
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++++++ ALL IMAGES ARE THE PROPERTY OF THE RESPECTIVE PHOTOGRAPHERS AND MAY NOT BE REPRODUCED IN ANYWAY WITHOUT THEIR PRIOR AND EXPRESS PERMISSION ++++++

12 comments

  1. Ancient Tombs of Banan

    Four very light pebbles attached
    to flung-sprung rubber band found
    between new laid bricks, retrieved
    by mound-viewing haze-gazer reminds
    him of the day he gave up that for this.

    Tall seeded grasses wave as a group
    passes and a small bee buzzes with
    interest. The man with no plan sees rice
    on the land, chattel by cart, its grain
    raked onto black plastic on the road.

    Some is still standing, Van Gogh’s yellow
    landing between green and smoldering
    fields. Ggachis fly by, bales are stacked
    high, a rooster lets loose surrounded by
    mountains’ shapes feathered in as if Ross

    took his two-incher and stroked Payne’s
    gray in a jagged horizontal line between
    white grading to blue atop, and the
    harvester’s fog below. Set free again, he
    sits looking at ancient burial homes

    so rounded and soft, kept mown, who
    knows how, in pairs that excite the
    dream of the lonely tractor driver
    who precisely gathers the rows. He
    leaves tracks for spring’s women to sew.

    Here comes a guard atop Folk Museum
    to punch his post. He doesn’t look hard
    or he’d see the forbidden beer that
    mimics the color of one more field’s
    cloud that floats by but still notices tears.

    Like

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