Reed proves that a signature style is an advantage in his incredibly strong collection of images. His trademark lighting technique involves a ten-foot pole and a strobe light, and makes his powerful portraits easily recognizable.
Andrew doesn’t take shortcuts. What some photographers do in photoshop, Andrew does with gels, flashlights, and environmental light sources. In this image, the blue streaks in the sky are helicopters and his shadow is created by headlights.
There was a time, not too long ago, when the armed forces kept a tight lid on photographs taken by its soldiers. Count Jeremiah’s portfolio as one more advantage of the digital photography revolution, and see his humble, hardworking personality come through in his work.
Oh Federico. Who can help but dream of Italy when viewing his images? How is it that he finds the most beautiful women in the world to photograph? Federico’s work was featured on the cover of JPG issue 19 and he thanked me with endless warmth.
Simon’s photography is like the album you have to listen to 20 times before you can’t get enough of it: subtle but surprisingly powerful. Check out his series of white houses (improper noun) of the heartland, and his shot of a frustrated Kansas police officer on election day.
I’m so conditioned against favoritism towards Christina McNeill (we worked together at JPG) that I just now remembered how much better this list would be with her on it. Sorry for the late add, Christina, you rock the Hasselblad and belong on this list.