Ask any photographer who they’re influenced by, or who their favorite photographers are, and chances are pretty good that they’ll list some of the titans of the genre: Henri Cartier-Bresson, William Eggleston, Ansel Adams, Bruce Davidson, Diane Arbus. Makes total sense; there’s a reason these photographers are seen as the epitome of the form.
Typically, people lavish praise on their favorite artists when they’re dead (just to be clear, Bruce Davidson is not dead). I decided that I want to acknowledge some of my favorite photographers, who are not only living, but who I also have the good fortune to know personally, even if only as acquaintances. I’m not trying to be too effusive or fawning here; just stating out loud to some photographers I respect greatly that I’m a fan.
Also, I was thinking about the way we consume photography today. Because of the sheer volume of photography being created, it has inevitably become a really thoughtless exercise in swiping and double-tapping to show surface-level appreciation for an image, so I’m doing this as an exercise in forcing myself to slow down and articulate why I consider these photographers some of my favorites.
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If you’ve seen a poster for a superhero movie in the last 5-10 years, there’s a strong possibility that Clay Enos shot it. But that’s not all he does. I met Clay when we both worked at AOL’s internal media group way back in the early 2000s. I first fell in love with his work through his Street Studio project: a brutally simple idea, consisting of a white backdrop on a street corner, and an invitation to passersby to pose for a photo. That’s it. This project is inspired by the work of Richard Avedon, one of Clay’s favorite photographers. The project initially started in the five boroughs of New York City, but Clay eventually brought it across the country and the world. Taken as a whole, it connects the viewer instantly, and intimately to a huge cross-section of humans. One of the reasons I love this project so much, is because of my own shyness and inability to approach strangers on the street, much less connect with them the way Clay does.
Other things you should know about Clay: he's one of the least gear-obsessed photographers I've ever met. He once rode a Vespa from New York City to Vancouver, and then to Central America, documenting the state of sustainable food production along the way. And When not working as a still photographer on the set of a major film, he spends much of his time photographing and sharing the stories of coffee farmers in places like Eastern Congo, Rwanda and Guatemala.