Anka was born on December 4, 1980. She spent her childhood with books on art and her mothers’ drawing tools, covering acres of paper with her drawings. In 1997 she entered the Moscow Architectural Institute deciding to follow in her mothers’ footsteps. But at the end of 1997 her mother was diagnosed with cancer and died in less that a year. Then her father died in 1999.
After that Anka’s life changed dramatically. In attempt to keep sane, she plunged into an alternative lifestyle – working as a tattoo artist, singing in a rock-band, sometimes looking for escape in alcohol. In order to make a living while studying, Anka worked at several modeling agencies. Thanks to the drawing lessons she wasn’t afraid to pose nude, and her photos appeared in the Playboy and XXL magazines and at the Playboy 1999 photo exhibition. But she was not looking for a modeling career – it was just a way to make some money.
In 2001 Anka was working in the post-production department at the Mosfilm StudiosThat same winter one of her colleagues invited her to spend a week-end in Saint-Petersburg with his friend, composer and musician Alexander Zhuravlev. In less than a month Anka said farewell to Moscow, her friends, her Mosfilm career and moved in with Alexander in Saint-Petersburg. Living with her loved one healed her soul, and she regained the urge for painting. She made several graphic works and ventured into other areas of visual arts. In 2002 Gavriil Lubnin, the famous painter and her husband’s friend, showed her the oil painting technique, which she experimented with for the following several years. During that period she made just a few works because each one required unleashing of a serious emotional charge. All those paintings are different as if created by different people.
Ever since some creative know-it-all came up with this widespread witticism, saying “One Picture is Worth Ten Thousand Words”, the necessity to say anything about Oliver Rath is basically obsolete. Year of birth (78), place of birth (Heidelberg) – who cares about it anyway? His mover/shaker-mentality, his DJing-past, his talent to translate boredom of one thing into a passion for another one – it is all nice things to say about him, but you actually don’t need to know. His DIY-enthusiasm, that built up the whole technical foundation of his existence as a photographer, his mindscape that no school in this world could have teach him, his creative lunacy that’s hidden beneath this Frankish and easy going surface – they are all pretty ornaments for writings like these, but still: anything you could say about him doesn’t come close to the impression of his pictures.
Those are pictures of a maniac. His imagery is infiltrated by codes of urban hedonism, yet ruptured by sometimes prankish, sometimes caustic humour. It is a hard and rough picture language, a language without diplomatic attachments or compromise, but fuelled with unchecked temper and elegant to subtle sense for semantics. He takes everything in that makes a good picture: geometry, contrast, perspective, arrangement. But more than that, he’s a master of those little things, that push a good picture to become an outstanding one. He is the advocate of maximizing impacts. He’ll find the big talk even in the smallest gestures. He might just slam you in the face with a picture. But he might lick your wounds with the very next one. His sense for the right sentiment is without comparison, be it on national or international scale. Call him man of the moment. What do I say? Call him a depicting chronicler of the Zeitgeist. Well, why do I say so much anyway? Just find one of his pictures and call him your new favourite photographer.
A Dutch photographer having lived in the Netherlands for most of her life, while travelling abroad, from time to time. At age 10, she received her first camera as a first prize, resulting she carried her camera everywhere, becoming professional some years later.
She studied chemistry, math, computer sciences and programming languages. Her career has encompassed: chemical analyst, technical support engineer and as manager of an international computer help-desk. Recently she commenced a senior position for the Publicity & Promotion of a Lighting firm.
In 2004 she was asked for a few photography projects and this made her decide to study photography at the Fotovakschool in Apeldoorn (NL), specializing in Portrait and Fashion.
Horst P. Horst, Ruth Bernard, Jeanloup Sieff, Elliott Erwitt, André Kertész, Herb Ritts, and Robert Doisneau, amongst others, have influenced her professional views.
2007 was her start for capturing nudes, working with light to emphasize the beauty of the human form.
Born 1899 in Yamaguchi Prefecture, Fukuda moved to Tokyo in 1919 to work at Takachiho Seisakusho (now: Olympus Corporation). Following the Great Kanto Earthquake, he moved to Osaka. In 1926, he won the Ilford Diamond Prize at the “First Japanese Photography Art Exhibition.” The following year, his attempt to establish a photography museum in Sakai (Osaka) failed, but Fukuda continued to take photography such as still life and compositions under the influence of Bauhaus aesthetics. His series “Camera Diagnostics” (published in “Asahi Camera”, 1936) was well-received, and Fukuda thus compiled “How to Photograph Women,” and other instructional books on photography. After the war, he focused on nudes, publishing “Shell of Light” (Hikari no kaigara) in 1949.
While realism became the dominant current in photography, Fukuda never gave up on his own, unique approach. In 1955, he received funding from the Canon Photo Competition to travel to Italy, and published his photographs from Italy in the next year. Books on Kyoto, Ginza and Sumidagawa followed. Since the late 1950s, Fukuda also engaged in experimental photography. In 1970, his solo exhibition “Flowers and Nudes: Fukuda Katsuji Exhibition” was held at Takashimaya Department Store in Nihonbashi (Tokyo). Fukuda passed away in 1991, aged 92. His works are held at the Yokohama Museum of Art, the Kawasaki City Museum, the Tokyo Metropolitan Museum of Photography, the Yamaguchi Prefectural Museum of Art and others.
Stefan Rappo is the photographer of emotion. He creates refined and understated images free of embellishment or sophisticated staging. A return to the natural state and the primacy of emotions. With a cinematic allure, his images are like short films, silent and poetic – odes to women. Most striking is the calm and serenity. The spectator, although held at a distance, infiltrates the intimacy of the play, a huis-clos where the palpable tensions play off each other to create a narration.
At 30 years of age, Stefan Rappo left Switzerland and his job as a designer and constructor of heavy forestry equipment to pursue studies in a photography school in the south of France. He worked as a photo assistant for Camilla Akrans and Bruno Aveillan, and then for Peter Lindbergh, with whom he has worked for more than five years now. In parallel he works on his personal projects including staged cinematic photo-stories, female nudes, as well as more commercial work.
His shoots are meticulously planned, but once on set he gives free reign to spontaneity and liberty. Thus the essential elements and the emotions coalesce, creating life.
Philippe Guédon, Normal Magazine
“Being naked this is nothing to hide, It is not even need words because the body speaks for itself. “Victor Lévy Beaulieu “Emotions à nu ” is a serie of female portraits without a face. As the “naked truth”, human, beautiful unadorned, without makeup. Women are plural, fragile and strong. This work is an intimate journey, an emotional state to another, a quiet quest towards physical self-acceptance and serenity.
EMOTIONS A NU – 2013
Marc Lagrange, 1957, lives and works in Antwerp, Belgium. Although his pictures remind us of the great works of Helmut Newton or Peter Lindbergh, Marc brings a finesse to his pictures like no other. His photographs are stylish, well composed and iconic.
Photographer Eddy Van Gestel lives and works in Belgium and Africa. He gained international fame through his coffee table books “A Continent in the Picture”, “To the Rhythm of the Sun”, “Africa XL”, “Terra Africana” and “African Queen”.
Over the years his style has become more serene and restrained, stripped of any excess, complex perspectives and difficult angles. The portraits he is shooting have one thing in common: they draw their graphic strength from their simplicity. To him photography is a quest for a magical and mysterious world, where there’s a very fine line between reality and impression. This is certainly true for this collection of photographs, which highlights the unsurpassed beauty of African women.
Joakim Karlsson was born in a small town in Sweden, 1979. When he grew up he was mostly into music and played in various rock bands. His first photo interest he got in 9th grade when he had a short photography course. There he learned to shoot with film, manual focus and cameras that had no automatic functions. The real photo interest never started until 2006 when he got very interested and portrait and fashion photography. He never had any photo training and learned everything the hard way by himself. The good thing about this is that he made all the mistakes himself and developed his own shooting style. Joakim mostly shot fashion until about 2 years ago when he got more interested in sensual art and nude photography. About the same time he started teaching and workshops