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Introduction to International Masters of Photography , Volume 1 The beginning of this endeavor comes at a very interesting and vital moment for photography: it has at last gained universal acceptance as one of the basic fine arts, and perhaps together with its companion, cinema, it is the most characteristic art of our age. Also, together with the dominance of digital photography, the very nature of the art has changed. Very little photography (apart from documentary and news photography) is now done without subsequent modification (although there are some notable exceptions!), and often the resulting image bears practically no resemblance to the original shot. Thus photography is now closer than ever to its etymological sense: writing, or painting, with light. An unprecedented flowering of every conceivable kind of painting with light is taking place around us. So we consider that the launching of this publication could not have come at a more propitious time. This thought has dictated our approach. There is considerable discussion about what is and what is not photography. We decided to take the broadest possible interpretation, and not only include, but actively pursue, everything that could remotely be considered as photography. On the one hand, we have the work of purists who still work only with old-fashioned film and pride themselves on printing only what came out of the camera and onto the film. At the other extreme, we have light painters who alter images to the point where the original scene is unrecognizable. We have a number of magnificent landscape and travel photographers from many countries, and advertising, fashion, portrait, nude, still life, nature, abstract, macro, documentary and many kinds of experimental photography are also well-represented. A special mention should be made of wedding photography. While for many years it was scorned as a poor cousin, as the most mundane type of everyday work photography , it has been elevated in recent years, by a number of talented practitioners, especially in East Asia, to a true art form. And we have in this book some impressive examples. We have a similarly broad approach in the photographers we have included. Some have reached the status of old masters are internationally famous and at the top of their profession, honored with multiple awards and solo museum exhibitions, their work much-collected. Others are just beginning their careers. Over fifty countries are represented. While most are professionals, some are not. What all have in common though, is that there is something remarkable or arresting about their work, and they all are technically very proficient in whatever they may do. In short, we have tried to give a complete as possible a picture of the best of photography here in the second decade of the twenty first century. And as new volumes come out, we intend to broaden this picture and create an extensive chronicle of the art of photography. Thomas Tunberg Editor
- Sales Rank: #4800957 in Books
- Published on: 2013-01-03
- Binding: Hardcover
- 310 pages
Review
Introduction to International Masters of Photography , Volume 1 This is the first volume of a new series of books of ours devoted exclusively to the art of photography. Our purpose with International Masters of Photography is also similar to that of our other series: to create an annual chronicle of what is happening in the art of photography all over the world, by featuring the work of noteworthy photographers, with as many genres as possible. It might have been easier to confine ourselves only to well-known photographers from the urban centers of America and Europe, but to do so would have been to miss much of the vital pulse of an art that is expanding and literally recreating itself before our eyes. Much of what is really new and exciting is coming from young, unknown photographers, and many interesting perspectives come from what used to be regarded as remote parts of the world. Of course, these were remote for those who were in the centers . But most of humanity lives in these remote places! And the centers are becoming both more numerous and less important. We think this is a very exciting and very positive development, and it is something that we support as much as we are able to. It has been our approach from our beginning as a publishing house to be as broad and inclusive as possible in our selection - while maintaining rigorous standards of quality. We believe that the element of magic in any anthology of art is its broadness and variety, and here we want it to include the whole world. And the world of photography is huge. In years to come, as we add volume after volume, we think that our depiction of it will become an ever more faithful cross-section of this beautiful art. Despina Tunberg Curator Despina Tunberg, Curator, is an award winning artist who has appeared in many exhibitions around the world and for many years enjoyed owning art galleries in Greece and the USA. She has also organized exhibitions and art festivals in museums and galleries in many countries and she has curated numerous publications. World Wide Art Books, established in 1996, brings Despina's passion for presenting talented artists onto the printed page with her publication International Contemporary Masters. This year she has launched another publication, the Dictionary of Artists which represents the greatest volume of talent ever organized in a convenient directory and now she is also selecting artists for free inclusion in a new publication under the title "Important World Artists" In addition to her successful print publications, Despina Tunberg, for five successive years she has organized the annual art festival in Chania, Crete, Greece, where more than 150 artists from all over the world participated each year. The event generates signifigant media exposure for the participating artist on T.V., radio, and daily periodicals giving many of the artists a boost in their careers. Despina Tunberg is also organizing exhibitions every year at the Southern Nevada Museum of Fine Arts in Las Vegas, in Art Miami in 2011 and is currently working on many more upcoming events. Artists who are interested in participating in our publications should contact Despina Tunberg through the website wwab.us or contact despina@wwab.us --wwab.us/index.php/About/about-world-wide-art-books.html
Photographers in Masters of Photography Volume 1 --wwab.us/index.php?option=com_k2&view=itemlist&layout=category&task=category&id=44&Itemid=124
Aeby, Noel Alanis, Mauricio Aljammaz, Ayman Allen, Skip Ambar, Doron Anabitarte, Miguel Badurina, Ines Barlow, Jeremie Barnes, Scott Beattie, Lorraine Bell, Joe Bellou, Kalli Belyaevsky, Stanislav Berge, Trond Are Biggs, Brenton Blatty, JT Blincoe, Jeremy Boileau, Regis Bowman, Dave Bradley, Chuck Bujbara Adel Cadosch, Marie Louise Cain, Debbie Cann, Kitty Capobianco, Holly Capri, Alex Cater, Herman Chandra, Anita Chavez, Edin Cheung, Sidney Chow, ND Clor, Christopher Craver, Neil Cunha de Sa, Goncalo DDiArte (Diogo Zé & Diamantino Jeus) De Rosa, Stefano Deng, Zabrina Duncan, Suzanne Ekin, Cemal Enseki, Hiroko Fagerstrom Levring, Katarina Falcao, Bruno Fletcher, Julie Forcier, Deena Gagne, Patricia Genet, Gerry Gigena, Carlos Greiner, Ralf Griffin, Susannah Virginia Guidetti, Carlo Hann, Hilary Hardikar, Mihir Heier, Robert Hiebaum, Julia Hoopes, Carly Jadan, Lians Jesus, Carla Joergensen, Ole Marius Kassel, Jonathon Katz, Annie KODDRIP (Alexander Khatuntsev) Koh, Kelvin Koopman, Linda Koopman, Sophia Kotwas, Janet Kulisev, Filip Lam, Lai Leng (Jennifer) Laor, Dikla La-Roque, Jean Marc Lebedev, Ivan Legudi, Katheerine Lim, Alwin Lim, Scott Robert Lipgar, Robert Livingston, Debra Livshin, Michael Lloyd, Roderick Lopes, Sal Lubitz, Allen Margagnoni, Massimo Martirosov, Alexander Mateer, Jenee Maton, Jacques Maxwell, Marilyn Mendes de Almeida Merriam, Jill Mimms, Stephen Mizuno, Alex Morosan, Gabriel Motegi, Hiro Mulas, Andre Naman, David Ng, Anita Novichenko, Rosae O Connor, Anne O Leary, Kim Patrick Pagratidis, Pagratis Park, Jung soo Pinto, Joao Pedro Pizzocaro, Anna Paola Poizot, Nicolas Pudelka , Michal Pusiri, Charit Queenan, John Quinn, GL Raksha (Choorman, Tookeshwari) Rampinini, Gabriele Raz, Shira Reimer, Ulla and Carles, Caroline Richards, Ali Rodriguez, Xanti Rozotte, Corinne Ru, Masha (Rudnaya, Maria) Rubin, Joseph Runion, Lee Sank, Michelle Schulz, Cathrin Seitz, Brian Sherry, Dawn Shinkle Rodney, Linda & Shinkle, Theodore M. Short, Bev Shulhan, Mike Shved, Oren Siebert, Tracey-Rae Simpson, G. Elliot Siqueiros, Damian Siu Ming, Fung Slattery-Ching, Kimene Steinle, Kurt Tabone, Joe Tadros, Ingetje Thakkar, Amish Thompson, Richard Tilling, Margaret Togashi, Kiyoshi Toranto, Barry Torres, Guido Van Deelen, Ellen Van den Bos, Kees Van Stralen, Peter Verheye, Stephane Verma, Nishant Vikander, Brian Vournakis Karen Wajs, Julie Wessling, Kristin Wilk, Barbara Wills, Mark Woo, Tauron Yerkish, Eddie Zurmuehle, Martin --volume II Photography Masters
About the Author
Thomas Tunberg, Editor, was for many years a co-owner of galleries in Greece and the USA with Despina Tunberg, and also collaborated with her in organizing art festivals and numerous other exhibitions. A writer himself, Thomas studied art history and archaeology, and has worked in advertising as a copywriter and creative director. Thomas has been the chief editor and marketing director of World Wide Art Books since its inception. Exercising his passion for photography, Thomas has been instrumental in launching WWAB s latest publication, International Master Photographers, an annually published book featuring outstanding work by some 200-250 master photographers from all over the world.
Most helpful customer reviews
1 of 2 people found the following review helpful.
Facts about this Book
By Thomas Tunberg
"International Masters of Photography", like World Wide Art Books' other publications, serves a dual purpose: on the one hand, to give a cross-section of what is happening in the art of photography, from year to year, all over the world, while on the other, we hope it will function as a useful reference and source book for a professional audience; art galleries, agencies, consultants and so on.
We do not pretend that our books are suitable for every artist, nor do we address ourselves to all artists. We are exacting about the quality of the work we accept - submissions have to pass through an approval process, and many are not accepted.
It is perhaps to be expected that some whose submissions are rejected may feel bitterness, and this can manifest itself in what could be described as an outpouring of bile.
The two anonymous "negative reviews" that appear here are fairly typical specimens. Neither could actually be called a book review. And neither has understood what the books are trying to achieve or what our purpose as publishers is.
There seems to be a perception among some that for an artist to spend money on promotion - or inviting an artist to do so - is somehow sinful or unethical. We do not subscribe to this point of view. Rather, we consider that just as for every other profession, promotion is also a necessity for any artist to succeed, to be recognized, and to sell his or her work. The question, rather, should be how effective a particular type of promotion is and what the cost is. The answers differ for every artist, as each artist is a unique individual, with different characteristics and different needs.
While we do distribute to the general public through outlets like Amazon, our primary concern is to reach a specialized professional audience of galleries, museums, agencies, art consultants, interior design companies, art directors, collectors, etc. We sell our books at cost, and we send a considerable number free to selected recipients, so we make no money from sales. In fact, we put our books on our website, and visitors can leaf through them page by page, so they can view the entire content without even having a physical copy. The only way we can cover the considerable costs of production and distribution is through the participation fees.
Is this a cost-effective way for an artist to promote herself or himself? Compared to the cost of printing one's own book (apart from the consideration that inclusion in a juried anthology has a completely different impact from a self-published monograph), or a paid advertisement in a magazine with a limited shelf-life, there can be little doubt that the cost is in fact low.
A more important question would be how effective this whole model is. I believe that the most authoritative criterion is the evaluation of those artists and photographers who have actually participated in past publications. These now number in the thousands. The feedback we have is overwhelmingly favorable: the consensus is that inclusion in our books has helped the participants gain access to new art galleries and art events, has helped them gain commissions and new clients, has helped to increase their sales and also the monetary value of their work. We publish on our website the names and websites of these participants (with their permission naturally), so anyone can contact them and ask them directly about their experience. I think the fact that we have the confidence to do that in itself says something.
Thomas Tunberg, Editor
0 of 0 people found the following review helpful.
A blast of inspiration!
By Mau A.
I have this book in my hands and it is a true blast of inspiration.
Don't miss it!
This should be in every photographer's bin
2 of 4 people found the following review helpful.
An Artists View
By Rachel T.
In reference to this being a vanity book. I am sorry you have this opinion of the WWAB group. As an artist I have worked with WWAB and their curators for several years now. Yes, placement in the book is not free, however, other art books, and magazines for that matter cost to be in them as well.
.
But being a part of the book brings much more with it than pages in a beautiful book.
AT no point will anyone from WWAB ever tell you that a gallery or museum will be looking at your work. In fact it is stated clearly that this is a book for the artists to use or sell. And your work will not get to a gallery or museum through WWAB recommendation.
There are several galleries that purchase space in the book to showcase the artists THEY represent.
Additionally, WWAB will send out a Call to Artists if something comes up that they feel would be a good opportunity for the participating artists. I've only seen this once, and artists were directed to submit directly to those looking for art, NOT through WWAB, and there were no costs involved.
As for shows, I myself have not participated in the Las Vegas Show, but I have participated with WWAB during the Miami Art Expo, many people know as the Basel.
It was a thrilling experience and WWAB did a beautiful job of exhibiting and marketing the works involved.
I have often talked with the curator who has given me sound and reasonable advice on many occasions, especially during low points in my personal sales. Her advice has always been honest and helpful and she has never once led me to believe she would be helping me in any way to get the book or my work to a gallery. She has had lengthy conversations with me, and there was no fee involved at all.
Yes, being a part of this group has dues.... its not free... but all clubs have membership dues.... and that's what this is... a group of working artists and curators, who come together to create a wonderful collection of contemporary works which you can sit and look at either in the book, or by contacting the artist of your choice.
I do like these people and I will continue working with them.
The book and the curators at WWAB are exceptional.
If you like art books... you wont be disappointed in purchasing this book.
And if you are an artist, don't be persuaded by one persons view. Clearly this person has not worked with WWAB. There are lots of people to contact who have worked with them and I'm sure their experience is the same as mine.
Be peaceful and bring lots of colors into your life!
See all 6 customer reviews...
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