I specialize in Black & White reportage and documentary-style portrait Photography.
I work with both digital (mostly) and film (for some projects).
I am shooting Documentary style dynamic portraits. The portraits are usually intense and raw, trying to capture some of the energy and vitality of the subjects.
The “Dragon Portrait Sessions” and the “Riders Portrait Sessions” are Documentary Portraits Series with the objective to create a Photographic Typology by means of black & white dynamic portraits of people sharing a common subculture, often associated with the “wild side”. The sessions are shot on-site, using natural light.
I am shooting reportage photography with musicians, artists, artisans, craftsmen, professionals, as well as special projects and assignments.
In my photography, I enjoy emulating classic b&w film, with a contrasty and grainy look that appear more “alive”, creating drama and a classical quality.
I develop and print my work, as for me it is crucial to control the process and get the exact results I look for. It is very difficult to find a 3rd party who is able to produce a very high quality black & white print and the availability of highest quality matte cotton paper is rather limited. When showing my photos / portfolio, nothing can replace a good print.
I love teaching. I am coaching photographers to be more creative and expressive using Black & White. I give lectures on the subject of Developing and Printing in Black & White.
There are many artists that inspire me, with their aesthetics, clarity, precision of their work, the drama they create, including architects such as Foster, Gehry, Calatrava; composers such as Bach, Bruckner, Mahler; painters such as Modigliani, Klimt, Egon Schiele.
I am inspired by several masters of Documentary and Portrait photography, such as Yousuf Karsh, Elliott Erwitt, Richard Avedon, Annie Leibovitz, Erving Penn, Platon. In addition, photographers such as Sebastiao Salgado and Anton Corbijn influenced me and drove me towards the special Tri-X 400 film look
My guiding principle in photography is to remain an amateur, in the true sense of the word: someone who does something for the love of it, rather than being a “professional”, who does something for money. As Andre Kertesz stated:“ I am an amateur and intend to remain one my whole life long… The photographer’s art is a continuous discovery, which requires patience and time…”
Emil Mayer (1871 – 1938) was a Viennese street photographer in the early 20th century. He was almost certainly the greatest of the European bromoilists in the 1920s and 30s. He and his wife committed suicide in 1938 when the Nazis annexed Austria and much of his work was destroyed.
Emil Gataullin is a Russian photographer, based in the Moscow region Korolyov, Russia.
His oeuvre was largely unknown in the west until he submitted some black-and-white photographs of village life in Russia to the Alfred Friend Photography Award in 2014. His picture of two boys, upside down on a swing, became the Peace Photo of the Year. Gataullin’s photographs are characterized by a quiet, slightly melancholy, poetry. The pictures are a reflection of Emil Gataullin’s life, beginning with his childhood in a small town beyond Moscow where he spent almost all his holidays with his grandmother and his uncle. His memories reach back into experiences where he tended cattle, gathered mushrooms and went fishing. Gataullin describes these memories as the best time of his life, which is a key sentence for understanding his escape from Moscow, his return to the village, where he lives with his wife and daughter in a suburban estate from the Khrushchev period. Through his camera, he gropes towards a non-verbal communication and pays attention to the people and things he sees.
Trent Parke was born in 1971 and raised in Newcastle, New South Wales. Using his mother’s Pentax Spotmatic and the family laundry as a darkroom, he began taking pictures when he was around 12 years old. Today, Parke, the only Australian photographer to be represented by Magnum, works primarily as a street photographer.
In 2003, with wife and fellow photographer Narelle Autio, Parke drove almost 90,000 km (56,000 miles) around Australia. Minutes to Midnight, the collection of photographs from this journey, offers a sometimes disturbing portrait of twenty-first century Australia, from the desiccated outback to the chaotic, melancholic vitality of life in remote Aboriginal towns. For this project Parke was awarded the W. Eugene Smith Grant in Humanistic Photography.
Parke won World Press Photo Awards in 1999, 2000, 2001 and 2005, and in 2006 was granted the ABN AMRO Emerging Artist Award. He was selected to be part of the World Press Photo Masterclass in 1999. Parke has published two books, Dream/Life in 1999, and The Seventh Wave with Narelle Autio in 2000. His work has been exhibited widely. In 2006 the National Gallery of Australia acquired Parke’s entire Minutes to Midnight exhibition.
Issei Suda was born in Tokyo in 1940 and graduated from the Tokyo College of Photography in 1962. He worked as a freelance photographer from 1971 and taught for many years at the Osaka University of Arts. He has had over 75 solo exhibitions, mainly in Japan, and his work is featured in numerous major museum collections around the world, including SFMoMA, Museum of Fine Arts, Houston and The J. Paul Getty Museum. His publications include the monographs Fushi Kaden (1978), My Tokyo 100 (1979),Human Memory (1996) and Minyou Sanga (2007).
My aim is to distill the architecture of Frank Gehry’s Stata Center – at the Massachusetts Institute of Technology – to an emotional response of an isolated structure. As I conducted research across the street – where I studied how the brain encodes emotional associations to contextual cues – I became more and more drawn to this architectural work. In the three-month leadup to defending my thesis I worked hundred-hour weeks. The energy I poured into my PhD led to solitude, insomnia, and an overwhelming sense of doom, which nearly caused a physical and mental collapse. I saw the Stata Center almost every single day and for over 10 years I took photos of it, learning how to view it ever more clearly apropos my internal state. With this interaction I connected to this deconstructed architecture, while at the same time, undergoing psychological dissociation.
In my photographic work I seek to create a distinct – often dire – reality. This ominous quality of this series also speaks to the power of the buildings looming strength. I am not looking to have the viewer feel how I feel or see how I see, but to use it as a projective test to identify internal conflict that they may not have been aware of prior to viewing this work. The tension of being elevated and grounded by Gehry’s work, has for me, created a tense and silent drama that unfolds into surreal observation and removes it from the architectural context into the photographic space as a separate art object.
Andreas Paradise was born in 1969 in Athens, Greece where he still lives today. In 1988 he studied photography but some years later quit it and worked in the financial sector. He holds an MBA from Kingston University in London.Back in 2007 a meeting with Manos Lykakis and, later, with Platon Rivellis (founder of Photo Circle) reminded him that he had unfinished business with photography. Since then photography has again been his first and daily priority, and the main way in which he expresses himself. His teachers include Michael Ackerman, Jacob Aue Sobol and in 2011 he won a scholarship for a masterclass given by Anders Petersen.
He likes to think of himself more as an architect and a collector than as a photographer; an architect because he is trying to build his own world, and a collector because he is trying to gather the raw materials needed for that purpose. He is not a story teller, he is just trying to describe the world of his visions. The only proof of these visions is the millisecond that will remain eternally alive and will never be repeated again.
Stray dog’ is a long term black and white project that dwells on Istanbul and people, animals, objects on its streets. It simply developed out of the relation between the city and myself. I am trying to reach out to the viewer in an effort to unveil the complexity of ordinary scenes of life.
Most of the photographs emerged from an effort to interpret the movements of people in order to open for the viewer new channels of reflection. Which, in terms of the emotion it conveys, seems to have resulted in melancholy, desertion, irony, absurdity and even farce.
Born in Taranto (Italy) in 1977, Giuseppe Di Giulio lives and works in Rome since 1996.
Self-taught photographer, he began taking pictures in 2001 during the university courses to produce a flier for a student association.
Still take pictures only during free time that his profession gives him.
In 2009 he held his first solo show at a club in Rome.
In 2009 his picture “the caress of the wind” has been selected among the finalists of the Metro Photo Challenge Italy.
ALFRED STIEGLITZ was most influential in establishing photography as an art form in the United States. He pursued this cause by editing and publishing magazines, organizing photographers, operating galleries and crafting his own creative photographic images many of which were printed in photogravure. He promoted the photogravure process as an original means of photographic printmaking.
Stieglitz secured hands-on experience with photogravure and used it extensively for his work and the images of fellow pictorialists around the turn of the twentieth century. He initially worked at the Photochrome Engraving Company, in New York, where he gained intimate knowledge of photogravure and other printing processes. In 1897, he issued Picturesque Bits of New York and Other Studies, a portfolio of his own large-format gravures, for which he personally made the film positives for plate making. At this time he marketed his individual photogravures as collectible, original works of art, numbering, signing and printing them in limited editions.
Stieglitz used the photogravure process for most of the illustrations in his groundbreaking periodicals, Camera Notes (1897-1903) and Camera Work (1903-1917). The photogravures in these journals, all personally approved by Stieglitz, enabled a larger audience for once to experience the artful qualities of photography. He was so confident of the quality of these gravures that he occasionally sent them to be displayed at international exhibitions of artistic photographs.
Stieglitz’s own work passed through three distinct phases. He began as a naturalist photographer sensitively portraying rural lifestyles. He then became a pictorialist, creating impressionistic pictures through soft-focus effects. Finally, he turned modern, embracing abstraction, photographic detail, and realistic tones
Fotógrafo, docente, comisario independiente y promotor de arte. En la actualidad trabaja para el Departamento de Artes Plásticas del Ayuntamiento de Alcobendas como Conservador y Comisario de la Colección Alcobendas de Fotografía. Es el vigente Director de la Escuela Internacional de fotografía Alcobendas PhotoEspaña PIC.A. Como profesor imparte clases en diferentes cursos de fotografía, forma parte del claustro de profesores del Máster PHotoEspaña en fotografía, además de realizar labores de asesoramiento a coleccionistas privados. Ha publicado más de ciento cincuenta artículos desde 1983 en numerosas revistas entre otras, Photo, Foto Profesional, Diorama – Foto, Revista FV, Europ-Art, El País, Diario El Mundo, ABC, Visual, La Fotografía…, también en libros y catálogos. Fue cofundador del Colectivo-28, perteneciendo a él hasta su disolución, y fundador y presidente de la Asociación “entrefotos” hasta el año 2005.
En sentido formal, las fotografías de Díaz-Maroto han evolucionado lentamente hasta sus últimas obras, centrando su interés en el paisaje contemporáneo, aumentando los formatos y demostrando abiertamente un dominio técnico que siempre es esencial en sus trabajos.
Viajero incansable, curioso y observador, imprime a sus trabajos una coherencia estilística, con dosis de naturalidad y de abierta visión.
Como fotógrafo se identifica con el reportaje cotidiano y con una tendencia creativa a la realización de “retratos ambientados”.
Fábio Costa (Fagu) was born in February 1978 in Sao Paulo, Brazil. An art director and amateur photographer, Fábio lives in Paris and has photographed daily since his birthday on February 23, 2005. He has made photography a lifetime project and intends to shoot every day for the rest of his life. His work is focused on street photography and graphics.
Ara Güler is a Turkish photojournalist, also known as Istanbul’s Eye.
Ara’s work is included in the collections of institutions worldwide, such as Paris’s National Library of France; New York’s George Eastman Museum; Das imaginäre Photo-Museum; Museum Ludwig Köln; and Sheldon Memorial Art Gallery.
Ara’s philosophy on photography is that he attaches great importance to the presence of humans in photography and considers himself as a visual historian. According to him, photography should provide people with memory of their suffering and their life. He feels that art can lie but photography only reflects the reality. He does not value art in photography so he prefers photojournalism.
He has won several awards for his work, including Turkey’s Photographer of the Century, 1999; Master of Leica, 1962; France’s Légion d’honneur; Lifetime Achievement Lucie Award, 2009; and Turkey’s Grand Prize of Culture and Arts, 2005. In 2004, he was give honorary fellowship by Istanbul’s Yıldız Technical University.