Ara Guler

 

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.

Paul Russell

Paul Russell is a British street photographer, based in Weymouth, Dorset. He is a member of the In-Public international street photography collective.
Russell’s work has been published in one self-published book of his own, in a few survey publications on street photography, and is in the collection of the Museum of London. He has had solo exhibitions in venues around the UK, and in group exhibitions in various locations worldwide.
Phil Coomes, writing for BBC News in 2011, spoke of him as “street photographer Paul Russell whose eye for a humorous moment is as keen as any you will find.”

Sevil Alkan

Sevil Alkan is an architect and story-teller whose work focuses on documentary and street life.

She was born in 1979. She studied   and completed her master degree in Bauhaus University- Urban Studies. She started photography in 2013 by using mobile device and she continues her works in Mobile Street and documentary photography. She founded H-art collective which is a mobile photography collective in 2014.

Vanishing phones, Arindam Thokder

The yellow public phones, omnipresent in most Indian cities -drop a coin and it’s at your service. Like all other Indian Cities, Bangalore of course has many of them. When I moved to Bangalore back in 2005, without a local number to make calls on, I was dependent on these yellow Phones for communication. My wife also used these phones to call me whenever she ran out of mobile prepaid limit. With the mobile phone revolution and its easy affordability, everyone has now at least one and sometimes two mobile phones. This certainly is drawing a curtain over the yellow pay-phone’s future. The shop keepers, who used to make 250-300 Rupees of coins each day, inform me that it’s now even hard to get 20-30 Rupees a day out of these phones. Lately I have noticed them vanishing from many places. I decided to document this swiftly disappearing phenomenon and life around these pay phones, before they vanish from the landscape of urban life completely.

William Claxton

Willam Claxton earned his reputation with his moody black and white portraits of leading jazzmen of the 1950s and 1960s such as Duke Ellington or Charlie Parker and by believing that photography was ‘jazz for the eye’. Often accompanying musicians during their tours, the American photographer captured them at work should it be a meditative Chet Baker whose face reflects in his piano or a powerful Dinah Washington confronting her mic. Yet what William Claxton succeeded in the most was in representing jazz musicians in other settings than their sweaty and frantic New York clubs; choosing outdoor sunny sceneries and laid-back outfits that gave an innovative freshness to their depictions. He often said he had succeeded in celebrity photography by promising not to portray his subjects in a negative way and by finding common tastes such as Steve Mc Queen’s passion for sports car. Should it be that trust that enabled him to capture an over made-up aging Gloria Swanson or the stress of an agitated Judy Garland: no negative portrayals but clearly harsh realities.

Adolf Fassbender

Adolf Fassbender (1884-1980) was born in Grevenbroich, Germany, a small town near Cologne. Before entering the military, he initially assisted a photographer in Freiburg, Germany and subsequently worked in Dresden (where he also studied drawing and painting), Vienna (where he began specializing in hand-colored miniature portraits), and Antwerp. In 1911, he immigrated to the United States. He was first employed by the Selby Sisters and in 1921 opened his own New York studio. For the next seven years, he produced commercial, illustrative, and portrait photographs, some of which were exhibited at national conventions of the Photographers’ Association of America. He closed the business in 1928.
At about this time, Fassbender became interested in pictorialism and began making creative pictures with the camera. He exhibited in pictorial salons for twenty years, beginning in 1925, when his work was first accepted by London’s Royal Photographic Society. He presented solo shows in 1934 at the Camera Club of New York and in 1951 at the Smithsonian Institution. He joined camera clubs in New York, received honorary memberships from groups elsewhere, and was a founding member of the Photographic Society of America.
Fassbender shared his techniques and theories by writing for the photographic press. He began in the early 1930s with a short series of articles in Camera about various control methods. His article “Why Bother,” about the importance of manipulating the negative, was printed over time by three different publications. Most significant was his book Pictorial Artistry: The Dramatization of the Beautiful in Photography, published in 1937.
After closing his studio in the late 1920s, Fassbender made his living as an instructor. He taught photography at the Brooklyn Institute of Arts and Sciences from 1930 to 1935 and in the late 1940s at the Central Branch Brooklyn YMCA. He also conducted private and group classes at his Manhattan and New Jersey residences and lectured to camera clubs and professional conventions throughout the country. Over the course of his teaching career, from which he retired in 1970, he had more than 18,000 students.

Ruth Orkin

Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World’s Fair, and she photographed along the way.

Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds’ greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others.
In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of “American Girl in Italy.” The photograph was part of a series originally titled “Don’t Be Afraid to Travel Alone” about what they encountered as women traveling alone in Europe after the war.

On her return to New York, Orkin married the photographer and filmmaker Morris Engel. Together they produced two feature films, including the classic “Little Fugitive” which was nominated for an Academy Award in 1953. From their New York apartment overlooking Central Park, Orkin photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, “A World Through My Window” and “More Pictures From My Window.” After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window.

Mark Fearnley

Mark Fearnley is a UK-based fine art street photographer who is completely impassioned by photography. He started off working as an interior decorative artist, painting grand houses using various paint effects. His love for art went further and Mark started painting abstract canvases, which in turn led to numerous exhibitions in different galleries around the country. From visiting these galleries and realising that photography uses much the same techniques as art, such as composition and focal point, and with his creative eye, his love for photography was born and this is where you find him today.
As a photographer Mark seeks to visualise a scene before it happens, often waiting to capture a moment that will hopefully then become a great photo. He has an addiction for black and white photography but is also just as at home working with colour.
As an artist, he enjoys experimenting with blur and abstract photography images, and you’ll be able to browse some in his website’s Portfolio. Mood and atmosphere play a big part in his photos. Another signature of Mark’s work is using the human element and negative space to add a narrative dimension: the rest of the storytelling is then left for you to decide for yourself.
Professionally, Mark offers fine art street photography workshops in London and everyone is welcome – from amateurs to professionals, mobile phone to DSLR users. Using a range of DSLRs and specialising in iPhone photography himself, an expert like Mark believes that the best camera you own is the one that you have with you.
Mark is inspired by global photographers such as Fan Ho, Januchi Hakoyama, Daido Moriyamo and Trent Park. In his website, you will find a spectrum of images in his Portfolio of his own travels around the globe showing examples of iPhone and DSLR photography.

John Vachon

Born in St. Paul, Minnesota, John Vachon received a bachelor’s degree in English literature from St. Thomas College at age twenty, followed by further studies at the Catholic University of America (1935–36). After being hired as an assistant messenger with the Farm Security Administration (FSA) in 1937, Vachon quickly developed his own photographic skills. He became a member of the FSA’s regular photographic staff and produced memorable documentary series in the Plains states. After moving to New York, Vachon in 1947 became a member of the Photo League, contributing numerous book reviews to the newsletter Photo Notes and participating in the 1948 exhibition This Is the Photo League. After working for many years as a staff photographer at Look magazine, Vachon became a visiting professor at the Minneapolis College of Art and Design in 1974.

Complex City, Arindam Thokder

Large cities in India have some distinctive characteristics. Among other things they are large, busy, and chaotic. Since I was raised in a small town in northeast India my first reaction, when visiting such a city, was to be overwhelmed by its complexity. I was fascinated by the skyscrapers, hoardings, traffic, and the large numbers of people (many of who were, just like me, chasing their dreams). After moving to Bangalore, I began to roam its streets with my camera. Soon I discovered beauty in the most mundane of everyday encounters. I became enamored with colors in a market, the play of shadows on a street, and the unintentional balletic dance of passing strangers. Photographing these kinds of things has brought many smiles to my face, and that’s why I’m looking forward to continuing my ongoing journey of discovery.

Ana F. Martín

Ever since I was a little girl, photography has been part of my life. I remember the first type of cameras I used with nostalgia, those point-and-shoot with a film roll I took myself to the photography shop to be developed and checked what the photographs looked like. Nowadays, all of that has been lost with digital technology but I still look back to those childhood days where I discovered a true passion.
As I grew up, my interest on photography kept growing with me, however I never thought of it as a professional career, maybe because of the pressure of parents and society, so I ended up studying a Bachelor Degree in Tourism Management at the University of Granada in Spain, so photography remained a hobby I liked to practice at any chance I had. I decided to study that particular degree because I have always loved to travel to new places and discovered other cultures by the hand of local people. I think the world is too big and interesting to only stay in the same place for my whole life. Keeping that idea in mind, I have lived in Italy and London for a long period of time while travelling around Europe.
My period living in London opened my mind to a quite new level I never experienced before. The spare time I had from work I used it to develop my senses by going to museums, galleries and every kind of artistic performance which could help me take the step to change my passion about photography into a professional career.
The type of photography I discover to like the most and, most importantly, that I think adjusts better to my own style and personality is the one showing the daily life and common things happening around us all the time without noticing in an artistic point of view. I believe we all have a particular way of seeing the world and I truly think is the duty of a photographer to “freeze” that moment, give it soul and meaning, show it and try to open the eyes of those who are too busy to look around, especially these days we are living now.

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Anders Beer Wilse

Norwegian photographer Anders Beer Wilse (1865-1949) has played an important part in the shaping of Norway’s national self-image. He is perhaps most famous for documenting Norway’s landscape and its natural and urban life, but he also worked as a photographer for many major Norwegian companies – among them Norsk Hydro.

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.

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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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.

 

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.

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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Nils Jorgensen

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Ibarionex Perello

 

Ibarionex Perello is a photographer, writer, educator and host of The Candid Frame Photography podcast. He has over 25 years of experience in the photographic industry.

In his role as host and producer of The Candid Frame, he provides frank, insightful interviews with some of the industry’s top established and emerging photographers. The popular show has featured guests including Jay Maisel, Joel Meyerowitz, Pete Turner, Lynn Goldsmith and Gerd Ludwig and enjoys a following among photo enthusiasts from all over the world. The weekly program is consistently ranked among the top programs of its type.

Ibarionex is also the author of 5 books including: Chasing the Light: Improving Your Photography Using Available Light, 5D Mark III From Snapshot to Great Shots, and Adobe Master Class: Photoshop. He is also the co-author of Visual Stories: Behind the Len with Vincent Laforet and Road to Seeing with Dan Winters.

His photographs and articles have appeared in numerous publications and websites including Digital Photo Pro, Outdoor Photographer, Rangefinder, Shutterbug, Popular Photography, DP Review and Scott Kelby’s Light It magazines.

He an adjunct professor at the Art Center College of Design as well as an instructor at the online photography school, Better Photo.