Manuel Carrillo

 

Manuel Carrillo nació en la Ciudad de México en 1906. A la edad de 16 años, en 1922, Carrillo fue de México a Nueva York donde realizó varios trabajos antes de convertirse en campeon de vals y tango con Arthur Murray. Durante este período, en Nueva York, se puso a trabajar para la firma de Wall Street Neuss Hesslein, pero en 1930 regresó a su pais. Allí comenzó a trabajar para uno de los pioneros de la industria turística mexicana Albert L. Bravo. Carrillo luego abandonó esa posición para convertirse en el agente general de la oficina del Ferrocarril Central de Illinois en la ciudad de México, donde permaneció durante treinta y seis años, hasta su retiro. A la edad de 49 años, se unió al Club Fotográfico de México y la Sociedad Fotográfica de América. Su primera exposición internacional, titulada, Mi Pueblo, se llevó a cabo en 1960 en la Biblioteca Pública de Chicago y representa la vida cotidiana en el México rural. Desde 1975, el trabajo de Carrillo se ha visto en 209 exposiciones individuales y 27 exposiciones grupales en México, los Estados Unidos, y en todo el mundo. En 1980, la Sociedad Fotográfica de América nombro a Carrillo Ciudadano de Honor de El Paso, Texas, donde su archivo fotográfico esta en la Biblioteca Pública de El Paso. Su trabajo ha sido publicado en una variedad de antologías fotográficas y revistas. Carrillo murió en la Ciudad de México en 1989 a la edad de 83 años

Alen MacWeeney

Born in Dublin, Alen MacWeeney began his career in Paris at twenty, as Richard Avedon’s assistant. His work has appeared in numerous magazines, including The New Yorker, LIFE, House & Garden, Vogue, Travel + Leisure, Esquire, Harper’s Bazaar, Smithsonian, The New York Times Magazine, GEO, Aperture, PEN, Camera International, and American Photographer.

His photographs are in the permanent collections at the Museum of Modern Art, the Metropolitan Museum of Art, the George Eastman House, the Philadelphia Museum of Art, the Art Institute of Chicago, and others.

His books demonstrate artistry with interiors (Charleston: a Bloomsbury House and Garden; The Home of the Surrealists), countrysides (Stone Walls & Fabled Landscapes), portraits (Irish Travellers: Tinkers No More; Bloomsbury Reflections), and inner lives (Spaces for Silence).

MacWeeney’s work is distinguished by the painterly way he unveils the character of his subject through a wide range of emotion, from humor to drama. His portraiture is direct and apparently simple, his compositional touch and use of light complex. The camera never gets in the way, allowing a rare calm, a thoughtful repose, to enter each picture.

In 2001 MacWeeney directed a feature-length documentary, Traveller, which was broadcast on RTE and BBC-TV.

He is the exclusive photographer for custom publisher Hammond Editions.

Aart Klein

 

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Aart Klein’s career as a photographer began in 1930 with the photo press agency Polygoon. Although he was working there initially as an office clerk, he also started doing some photography himself. During his nine years at Polygoon’s, Aart Klein grew into one of the agency’s foremost photographers. Unfortunately, the negatives of the photographs he made in that period have been lost. During the German occupation, Aart Klein held a number of small jobs as a photographer. In 1943, he was forced to do labour in Germany, where he continued working as a photographer. After a year, he obtained leave, and when he got back to the Netherlands he went into hiding. During the last year of the German occupation, Aart Klein worked for the resistance and his photographs were passed on to England.

After Holland’s liberation in 1945, he set up the photographers’ cooperative agency Particam with Maria Austria, Henk Jonker and Wim Zilver Rupe . The agency specialized in ballet, theatre and cabaret, and owed its monopoly in the field partly to the method Aart Klein and Maria Austria had developed to increase the sensitivity of slow films, so that there was no more need to use a flash during performances.

In 1956, Aart Klein left Particam and set up as freelance photographer. From that time on, he worked regularly for the quality paper Algemeen Handelsblad and was commissioned to produce a great number of photography books.

Infrastructure, urbanization, water and landscape are the thread that runs through Aart Klein’s whole oeuvre. In 1999, he explained the fascination these subjects held for him: ‘I really grew up with the idea of ‘the Netherlands rising’. Industry, the Delta Works and ports are subjects that strongly appeal to me.’ In contrast to many other photographers of his generation, people play a minor part in Aart Klein’s work and he developed his own vision on landscape photography.

He once said: ‘My photography is called black-and-white photography, but in fact it is just the other way round: white on black. Because if you don’t do anything, you get a black image. It’s only when you open the shutter that something happens: then you draw in white.’ The strong black-white contrasts originate from the period when Aart Klein participated in the cooperative photographer’s agency. Together with Maria Austria he devised a method of taking photographs in a theatre without having to use a flash. The negatives were ‘pushed’ in a well heated developer to achieve strong black-and-white contrasts. A major part of the artistic process took place while printing the negatives. In the dark room, Aart Klein determined quite precisely how he wished an image to be cropped.

The way he worked was often characterized as graphic; he thought this to be ‘a rather superficial characterization that ignored the content’. Just as many other socially committed photographers, Aart Klein was a member of the photography branch of the Gebonden Kunsten federatie GKf (Bound Arts Federation) and was a co-founder of the Nederlandse Vereniging van Fotojournalisten (Dutch Association of Press Photographers). Although his work has been associated with ‘subjective photography’, that trend is more a confirmation of what he was already doing than a source of inspiration. He never joined the more aesthetically oriented Nederlandse Fotografen Kunstkring (Dutch Photographers Art Society).

In 1986, the Museum for Modern Art De Beyerd in Breda organized a retrospective. On that occasion, a boxed set containing two portfolios with unknown work by Aart Klein made its appearance. In 1982, Aart Klein received the Capi-Lux Alblas Prize and in 1996, the Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst (Foundation for the Visual Arts, Design and Architecture) awarded him the photography prize for his entire oeuvre.

 

 

Leonardo Cantero

Nació en Bilbao en 1907 en el seno de una familia de clase acomodada. Realizó estudios de arquitectura en Madrid, aunque pronto estuvo interesado por la fotografía.

En 1950 entra como miembro en la Real Sociedad Fotográfica de Madrid participando activamente. Cuando en 1956 la Agrupación fotográfica almeriense (AFAL) crea una revista pionera en España en ese momento participa en ella de un modo activo. En 1957 es miembro fundador del grupo La Palangana junto con los fotógrafos Gabriel Cualladó, Francisco Ontañón, Joaquín Rubio Camín, Paco Gómez y Ramón Masats lo que facilitó que se formase una corriente innovadora en el seno de la RSF llamada Escuela de Madrid.1​ Este movimiento supuso un cambio de rumbo en la fotografía madrileña que estaba muy penetrada por el pictorialismo y la fotografía de salón.2​

El trabajo que realiza entre 1940 y 1960 que es principalmente un reportaje humanista lo basa en gran medida en las fotos tomadas en su finca familiar llamada La Dehesa de Hoyos en Sotillo de la Adrada (Ávila). Participa en numerosos concursos fotográficos obteniendo diversos premios: Luis Navarro (1960), Premio del Ministerio de Agricultura (1964 y 1966), Premio de Sociedades en el Sonimag (1965), etc. También participa en numerosas exposiciones colectivas como la Exposición Internacional Zoológica de Amberes (1952), el Salón Internacional de Tarrasa (1963), etc. También realizó trabajos documentales sobre las abejas y los mántidos, así en 1961 hizo una serie de diapositivas en color sobre el mimetismo de los insectos que presentó en la III Bienal Internacional de París.

Albert Kahn

Albert Kahn (3 March 1860 – 14 November 1940) was a French banker and philanthropist, known for initiating The Archives of the Planet, a vast photographical project. Spanning 22 years, it resulted in a collection of 72,000 colour photographs and 183,000 meters of film.

In 1909, Kahn travelled with his chauffeur and photographer, Alfred Dutertre, to Japan on business and returned with many photographs of the journey. This prompted him to begin a project collecting a photographic record of the entire Earth. He appointed Jean Brunhes as the project director, and sent photographers to every continent to record images of the planet using the first practical medium for colour photography, Autochrome plates, and early cinematography. Between 1909 and 1931 they collected 72,000 colour photographs and 183,000 meters of film. These form a unique historical record of 50 countries, known as The Archives of the Planet.

Kahn’s photographers began documenting France in 1914, just days before the outbreak of World War I, and by liaising with the military managed to record both the devastation of war and the struggle to continue everyday life and agricultural work.

Nour El Ghoumari

Nour Eddine El Ghoumari’s street photography and portraiture is considered by many critics and enthusiasts to be some of the finest photography in the world today.

His work has been the subject of discussion in some of the world’s most widely read books and photographic magazines.

A selection of his work is published in the prestigious book The World’s Greatest Black and White Photographers; globally, numerous websites profile and debate his highly influential street photography. Exhibitions from London to Japan, from the Russia to Chile, have testified to his unique appeal.

Nour Eddine has also won several International awards; Gold medal for the best portraits in the Arab world for two consecutive years, and the prestigious Photographer of the year in the UK as well as the second place in the World Colour Awards.

Pentti Sammallahti

 

Sammallahti’s photographs take the viewer beyond everyday experience into a wistfully enchanting world. Regardless of where on the globe Sammallahti goes – Finland, Russia or France – there is a gentle humour in his gaze. In Sammallahti’s universe things that are considered unimportant become significant, while the essentials are discovered through acutely experiencing the world. Dogs stretching and doves dozing, the rhythms of a Roma market, or children in clothes that are too big for them – all well-aimed shots in the hunt for decisive moments. Sammallahti represents an alternative to the frenetic rhythms of contemporary life and to the adulation of rapid change

Apart from being a world-travelling photographer, Sammallahti is an immortaliser of his home city of Helsinki. Although the place has changed and grown over the decades, Helsinki-ites will recognize in these pictures the dampness, the wind and the mist coming in from the sea that are part of the scene in autumn and winter.

Sammallahti is one of the first Finnish photographers to have carried out his entire life’s work as a photographic artist. As a craftsman who emphasizes the knowledge and skill of the photographer in taking photographs, making photographic prints, and printing photographs using photomechanical processes. Along with individual pictures, Sammallahti has made thematic portfolios. His breakthrough work, Cathleen Ní Houlihan – An Irish Portfolio from 1979, took its name from a figure in an Irish folk tale. It marked a new opening for photographic art that accentuated the tonality of the pictures and the photographer’s own inner experience. He taught for a long time at the University of Art and Design in Helsinki, where he and his workgroups created a culture of high-quality photographic printing and printing using photomechanical processes. The retrospective exhibition includes his original photographic prints, graphically printed portfolios and contemporary digital prints.

Adriano Villegas

Como preludio, pese a que yo lo considero irrelevante, diré que estudié Publicidad y que, posteriormente, decidí abandonar ese mundo de un modo absoluto. Ahora tan solo trabajo en lugares que me permitan dedicar mi tiempo mental a lo que a mí me gusta. Me siento más cómodo descargando cajas o cobrando manteles que diseñando logos o charlando en una galería. Y adoro viajar, hasta el punto de que estuve viviendo varios meses en Camboya

Aprendí fotografía, fotomanipulación y dirección de arte de modo autodidacta, basándome en el concepto de “me gustaría plasmar esto, ¿cómo consigo hacerlo?”. Ensayo y error. Horas y horas. Obsesionado con el tenebrismo barroco – Ribera, Caravaggio, Rembrant…, así como con toda una galería de temas fetiche que van desde la mitología de Silent Hill hasta la Cábala judia, plasmo con mis fotos mi cosmogonía personal a base de personajes que, tanto en grupos cohesionados como a en forma de retazos sueltos, cumplen determinados papeles dentro mi ciudad mental personal. Todo es una gran obra de teatro.

Si bien no existe una coherencia geográfica y temporal concreta (no existe nada, más allá de un mismo estilo artístico, que los unifique), he ido profundizando en la idea de las series fotográficas y la reinterpretación. Cada nuevo proyecto, cada nueva serie, supone una implicación con un tema determinado; bien sean los yokai japoneses, el chamanismo prehistórico o las nueve musas griegas, me dedico a bucear entre libros, artículos y piezas artísticas relacionadas con el tema fetiche que me obsesiona en un determinado momento hasta hacerlo parte de mi y poder, de esa forma, reinterpretarlo bajo mi visión.

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Metro, Stan Raucher

The B Train at 42nd St, Manhattan


Line 4 near Les Halles, Paris


Line 1 near People’s Square, Shanghai


Tren Ligero near La Noria, Mexico City


Line 2 at Montesanto, Naples


Metro 1 near Swietokrzyska, Warsaw


Blue Line at Noida City Center, Delhi


Brighton Beach Station, Brooklyn


Line 8 near Aculco, Mexico City


Metro 3 Deák Ferenc Tér Station, Budapest


Atlantic Ave MTA Station, Brooklyn


Line 2 near Lujiazui, Shanghai


Line 2 at Klabin, São Paulo


Belleville Metro Station, Paris

I’m intrigued by observing ordinary people going about their daily activities in public spaces in countries and cultures around the world. Glimpses of the human condition emerge as individuals interact with one another and their surroundings. An expressive gesture, a telling glance, a concealed mood or hidden emotion may suddenly materialize and then vanish in a split-second. Such ephemeral events are often overlooked or quickly forgotten. My photographs capture these fleeting moments as evocative, richly-layered images that invite the viewer to generate their own personal narratives. At a time when fewer of the images that we see on a routine basis are honest representations of real life, my candid photography opens a window to the world that actually surrounds us here and now.

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Norman Parkinson

I like to make people look as good as they’d like to look, and with luck, a shade better

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Burk Uzzle

Like the best observers of this country, Uzzle displays an intuitive sensitivity to our national incongruities and harmonies. His subjects are classic Americana: beaches and parades, small towns and highways, a mix of the impossibly vast and the deeply local that gets at the heart of life here. Uzzle’s perspective combines the best qualities of those who’ve undertaken similar enterprises — the wit of Garry Winogrand, and the stylistic approach of New Topographics photographers like Robert Adams — while maintaining a certain Uzzle-ness that makes him entirely original.

Jordan G. Teicher

Light urban rain, Martin U Waltz

Martin’s work is about the human element in urban space. He explores the underlying emotions in the city between existential angst, boredom and joy. Martin is a keen observer of the fragility and transiency in urban life. In his street photography Martin emphasizes the contrast between the soft fluid human shape and the hard and static fabric of city infrastructure. Martin uses strong geometrical compositions, still he thinks of his photography as associative and poetic.

 

Michael Papendieck

Michael Papendieck is a German photographer born in 1970, dedicated to this since 1989.

Since 2005 he works as a freelance photographer, author and teacher, and since 2009 he teach photography in FF-Fotoschule (Hamburg, Germany)

Nowadays he’s based in Braunschweig.

Barbara Klemm

Barbara Klemm is a German press photographer who worked for Frankfurter Allgemeine Zeitung for 45 years. She photographed many of the most important events in recent German history and has received honors including Fellowship of the Academy of Arts, Berlin and the Pour le Mérite, and she was inducted into the Leica Hall of Fame in recognition of her status as “a driving force in reportage photography” and as “an exemplary photographer”.

Chris Suspect

The son of a diplomat, Chris Suspect was born in the Philippines in 1968. He is a street and documentary photographer hailing from the Washington, DC area. He specializes in capturing absurd and profound moments in the quotidian. His street photography work has been recognized internationally and has been exhibited in Miami, Belgium, Germany, Italy, Romania, Georgia and the United Kingdom. His documentary work on the underground music scene in Washington, D.C., was published as a book, Suspect Device, by Empty Stretch in 2014 and was a featured exhibit at the Kolga Tblisi Photo Festival 2015 in Tblisi, Georgia. This same project was also featured in the Leica Galerie at Photokina 2014 in Koln, Germany. The work is currently held in the Leica Galerie Archives.

In the last year, Suspect won the StreetFoto San Francisco competition for street series, FotoWeek DC’s competition for Photographer’s Choice series, and Exposed DC’s annual photography competition. He was also a finalist in the Miami Street Photography Festival Miami Photo Series. In previous years he was shortlisted for the International Street Photography Awards (UK) and named the winner of the Washington City Paper’s 2014 Photography Contest. Previously Suspect served as a judge for the Miami Street Photography festival during Miami Art Basel (2013), he won Photo District News’ “The Scene” contest for music photography (2013) and received an honorable mention in the Chicago Photographic Society’s first annual street photography contest (2013).

Suspect’s work has been featured in the Huffington Post, Photo District News, LFI Magazine and on the Leica Camera Blog. He also has published photographs in the Washington Post, Washington City Paper, CNN, The Atlantic, Forbes and many other media outlets in the US, Germany, Canada and Brazil.

Pierre Verger

Pierre Edouard Leopold Verger (1902-1996) was a French photographer, ethnologist, anthropologist and researcher who lived most of his life in the city of Salvador, capital of the state of Bahia, in Brazil. Verger developed a photographic work of great importance, based on everyday life and the popular culture of five continents. Verger also wrote several reference texts on the Afro-Bahian culture and the Diaspora, focusing his research work on the study of the religious aspects of Candomblé, an issue that becomes his main interest point.

Verger is born in Paris on November 4 th 1902. From a middle-class upbringing, until his thirties Pierre Verger leads a rather conventional lifestyle, corresponding to his social condition, even if he intimately disagrees with those class values. The year 1932 marks a turning point: he learns photography from his friend Pierre Boucher and discovers his passion for travel. Verger buys his first Rolleiflex camera, and after the death of his mother decides to realise his deepest desire: to become a lonesome traveller. Since the death of his father and two brothers, Verger’s mother had been his sole remaining parent, who he did not want to hurt in choosing an anticonformism and roving lifestyle.

Between December 1932 and August 1946, Pierre Verger travels around the world, making a living exclusively from his photographic art. Negot iating his negatives with newspapers, photo agencies and research institutions, Verger takes pictures for various companies and even exchanges his services for travel tickets. Paris becomes his base, where he receives his friends – including Jacques Prévert’s party and the ethnologists from the Ethnographic Museum in Trocadero square – while making contacts for new trips. He has his work published in the best magazines of the time, but as stardom is not his aim, Verger is always on the brink of a new departure: “The sensation that there was a wide world out there didn’t leave me, and the longing to see it took me towards new horizons”.

Allison Joyce

Allison Joyce is a Boston born photojournalist based in Dhaka, Bangladesh. At the age of 19 she left school at Pratt Institute and moved to Iowa to cover the 2008 Presidential Race where she worked as a campaign photographer for Hillary Clinton. The experience inspired her travels around the world covering social issues.

As a regular contributor to Reuters and Getty Images her work has appeared worldwide, including: The New York Times, National Geographic, Mother Jones, Virginia Quarterly Review, TIME, Paris Match and Newsweek. Other clients have included Microsoft, Apple, FX and Action Aid. Her work has been honored by POYI (Pictures of the Year International) and the NYPPA (New York Press Photographers

Felix Lupa

Seven years have elapsed since the moment I realized that the photographs I had been posting on the net were Street Photographs. No doubt I would have missed this wonderful genre, had it not been for my late exposure to the internet. So I decided to adopt it whole-heartedly. Picture by picture it has revealed to me how amazing the street is: full of thrilling human experiences in every corner, alleyway, and neighborhood, all places where people are to be found.

Seven years have elapsed and I still hurry to the street like a little boy to his playground. The desire to pass every free moment in this playground has not faded with the passage of time. The street is my playground, and people in it are my playthings. The street has its own rules and the passers-by are my unconscious partners in the game. In my game I strive to capture the people and arrange them in various compositions, some more or some less sophisticated that will fit in with my ideas, with the pictures I see in my imagination. It is my imagination that insists on a personal style, the fingerprint unique to each photographer.

The workspace of the street photographer consists of constantly changing population groups. They are continuously on the move, changing day by day, each one having its own purpose and target. Coping constantly with this human flux, and mastery of the language of each group (at times even of a single individual) are necessary if you want to understand people’s behavior and the rules that shape it. A lot of time, patience, and a great deal of contact with different, strange, people are necessary until one acquires the ability to maneuver successfully in the street, inside people’s private territory. Unique ways of seeing, the ability to analyze a situation and react quickly to it, are the tools the street photographer carries with him. His or her personality, experience, intelligence and approach to life are the main weapons in the street. The game here is not a competition between two teams: it is you against the rest of the world, alone but not lonely. You are equipped with that small box, containing the most outstanding collection of playthings in the world.

It is twenty-seven years since I got my first magic box, and it is only now that I have come to realize that all those years have been a long preparation for what still lays ahead, what I have not yet done. Each kilometer I have travelled, each shoe I have worn out, each person I have gotten to know, each picture I have taken, everything I looked for, found, thought, understood, all these and more are the corner-stones on which my street photographer’s personality is built. This personality is what we street photographers bring with us to the playground of street photography. It is with this personality, and only with it, that we confront the rest of the world, with only a little box equipped with an eye of polished glass separating us from the world. Through this magical eye we look at the world, trying to understand it, analyze it, react to it with the intuition unique to each of us, according to our particular view of the world, expressing ourselves through and by it. And she, the camera, is doing her best to capture for us those wonderful magical moments, brought in front of us by our personal traits and imaginations, and that the street in its generosity brings forward and presents to us. No matter what we call this dream catcher, admit that you too have been captured by its magic, and the sweet music of the shutter.

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Mindaugas Gabrenas

Mindaugas Gabrenas (1977) is fine art Lithuanian photographer working worldwide.

His series Fantasma (2009) was the first integral photo project with intention to explore the long exposure landscape photography in personal melancholic and apocalyptic way.

In 2011 Gabrenas came back to black&white film photography and started his Dreamscapes series. Working in severe and abandoned locations with long time ago expired soviet Svema films and old light leaking cameras, Gabrenas reflected a black&white surreal dream projection in photography.

Back to the City is the third Gabrenas‘ project, created in US. Here author combines his passion for landscape and cityscape photography by mixing an American wild landscape with New York City cityscape. Presenting works in diptych Gabrenas is trying to reveal unexpected visual parallels between two antagonistic concepts: natura et urbi.

In his fourth and still ongoing project Somnia Gabrenas is back to the theme of dreams, capturing these visions using his handmade medium format film camera and colour films. mostly affected by mold from the dark bread.

Mindaugas Gabrenas is an author of a number of personal and group exhibitions worldwide, his works were published in various photo magazines, in 2014 his works were presented in International Festival of Photography PHotoEspaña (Madrid).

Author currently focuses on 6×6 film photography and works with medium format cameras varying from Hasselblad to plastic homemade. Landscapes, waterscapes, cityscapes and melancholic dreamscapes – are the main fields of his interest.

Wolfgang Tillmans

Central to Tillmans’ career has been an extended flirtation with banality, pursued not merely for its own sake, in a spirit of slacker irony, but with the deep, philosophical conviction that no aspect of the social, physical or political world is devoid of meaning or unworthy of investigation. If individual images occasionally fall flat out of context . . . it needn’t detract from virtue of the pursuit and the value of such a holisitic perspective.” In other words, if one thing matters, everything matters.

Holly Myers