Photography for-tells stories synonymous with our own primal, intrinsic desires to dive in and implicate, merge, and experience our external environments. The pause that holds us silently whilst observing opens doors that capture untold stories only we could conquer. Images filter constructs of rapacious emotional rapture. Visual stimulation impacts the exploration of the psyche through the processes of association thus hurdling emotions, voyeurism, pity, rage , lament. All of these perhaps, visionary in one stillness. A pause conveying all possibility. Rank Uiller
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.
His work draws inspiration from many sources beyond the world of photography: literature with the work of J.P. Sartre, Paul Bowles and Michel Houellebecq, painting between Rembrandt, Hopper and Penck, poetry with Baudelaire, Benn and Celan, movies from “The Third Man” to the work of Jim Jarmush and Wong Kar-wai and the recent “Victoria” and tv series like “The Wire” and “Fargo”.
Julien Legrand is a photographer. Born in 1979 in the North of France, he graduated in webdesign and graphic design. He is the founder of the international collective VIVO and member of the French collective FRAGMENT. In 2012, he has the opportunity to present his work at the Miami Street Photography Festival and in 2016 he is among the finalists of the International Street Photography Awards in San Francisco.
Julien Legrand’s interest in street photography comes from his passion for skateboarding which gave him the opportunity to move freely through the streets of his city, linger and become a privileged observer of the many strange or amazing events taking place there. Skateboarding is also a pretext for appropriating the urban landscape for the skateboarders own purposes. The skateboards themselves, with their decorations, helped to inspire Julien Legrand’s taste for graphic compositions of street art. A violent fall, however, forced him to put a brake on this activity, he now pursues his urban exploration through photography.
Julien Legrand is never without his camera. “Photography is an obsession for me, it accompanies me every day like a faithful old friend, it is a kind of therapy that allows me to put aside my anxiety.” His everyday and candid photos mainly feature passers-by. Inspired by photographers such as Gueorgui Pinkhassov, Harry Gruyaert, Alex Webb, Ernst Haas or Garry Winogrand, Julien Legrand explores the boundary between urbanization and nature and questions the relationship of the individual to his environment.
Jean Pierre Favreau was born in 1940 and has grown in La Rochelle. He lives in Paris since 1962.
From 1970 to 1980, he travelled around the world : United States, South America and South East of Asia.
After 1980, the traveller gave the way to the photographer, as he choose to focus his attention on people in the urban environment. Quite a few years later, part of his work was integrated in a book named Incertaines cités (Uncertain cities) , published by Filigranes in 1997.
In 1982, he was given a grant by the French Ministry of Culture to do a photographic work on New York.
From 1985 to 1991, he stayed regularly in Cap Vert. In 1990, his photos were exhibited in the building of the french newspaper Le Monde in Paris then in the Contrejour gallery in Paris too which published his book Blues Outremer (Overseas Blues) in 1991 . The same year the photos of Cap Vert were shown at the Sevilla World Fair.
As a regular contributor to Le Monde, he worked on several special editions, among them one about France which became the subject of an exhibition held in 1992.
From 2001 to 2009, he continued his work on the subject of man in Japenese cities. He started a work on China in 2005, until 2012.
2013, PASSAGERS, first monograph, was published at Five Continents Éditions and his work was shown in Paris at 6 Mandel Gallery.
Born on October, 5th 1984 in Cagliari, Sardinia (Italy).
At a very young age he started to draw focusing solely on the black and white creations.
The monochrome has quickly became his natural habitat when he has encountred the world of Photography.
Thanks to some of his masters, especially Elliott Erwitt and Richard Kalvar, he promptly met what is now generally called “street photography”.
In 2014, he left Sardinia and moved to Bologna in the Italian mainland where he currently lives and works.
Sze Tsung Nicolás Leong is a British-American artist, born in Mexico City in 1970, and currently based in New York and Los Angeles.
Leong’s work includes the series Cities, a detailed depiction of urban formations throughout the globe, from medieval towns to recent constructions, that together form a picture of the world at this particular moment in time at the beginning of the twenty-first century; Horizons, an international collection of images of natural terrains and urban landscapes that considers the relationships between far and near, foreign and familiar; and History Images, which examines the erasure of history and the reshaping of society through the built environment.
Works from these series are included in the permanent collections of the Metropolitan Museum of Art and Museum of Modern Art in New York, the Victoria and Albert Museum in London, the San Francisco Museum of Modern Art, the National Galleries of Scotland, the National Gallery of Canada, the Museum of Fine Arts, Houston, and the Yale University Art Gallery, among others.
She was born in Ostrava in the family, who came from Austrian Galicia, from Lvov, in the period after the October Revolution.
She studied dance from early childhood. Tamara enrolled in the study with a focus on classical ballet. She studied also modern dance. At the school she got general knowledge from other artistic disciplines (visual arts, architecture, music). In addition to interesting encounters with the world culture in the Ostrava she often traveled and worked with great professionals of foreign ballet elite (she met and worked with celebrities, such as: Serge Lifar, Boris Bregvadze, Aleksandr Lemberg and many more.)
Afterwards Tamara decided to extend her education. She successfully did test GITIS (The Russian University of Theatre Arts). Despite of all interventions, unfortunately she couldn´t go to Moscow due to the political situation. After the Velvet Revolution she took advantage of the favorable political situation and she expanded her education in JAMU (Janáček Academy of Performing Arts).
After studies, she became a soloist in the Moravian-Silesian National Theatre Ballet ensemble where she was interpreting great roles of leading ballet repertoire. She has an excellent talent to affect the psychology of the characters and she is able to endow the heroine of a deep inward experience, along with high aesthetics and technique of dance (Anna Karenina and Carmen, Svanilda of Coppélia).
She was awarded by several major awards. She was nominated for Dance best performance prize Thálie. She was also a professor at the Janacek Conservatory in Ostrava. Later on she worked also as ballet master in the same theater. She applied her experience from the dance field also as a choreographer. She also worked with the opera ensemble of the The National Moravian-Silesian Theatre in Ostrava.
She started to work also as photographer during the collaboration with the theater. Like in their dance roles, in her pictures she tends to show non-violent way of human emotions and dramatic situations of everyday people life. She strongly inclines to show the beauty and humanity. She exhibits her photographs awarded by prestigious foreign prizes at home and abroad. She is a member of the International Media PRESS and member of the Dance Council CID UNESCO
Lukas Vasilikos started photography in 2006.He lives and works in Athens.Lukas is a member of the “Depression Era” team of artists and writers that record the Greek crisis and he participated in an exhibition that took place in March 2014 at Palais de Beax Arts (Bozar), Belgium and in DUPON gallery part of Mois de la Photo a Paris in November 2014. He is also a member of the international collective “street-photographers” and the “Photography Circle”.
Viktor Kolář was born in 1941 in Ostrava. His father, a self-taught filmmaker and photographer, was the owner of a photo studio and photo shop, which was one of the important factors that led his young son to photography In 1953, he began taking his first photographs, and soon familiarized himself with the works of renowned photographers, particularly Henri Cartier-Bresson. From 1960 to 1964, he studied at the Photographic Institute in Ostrava. After that, he taught at an elementary school. From the second half of the 1960s, he decided to devote himself fully to photography. At the same time, he met and befriended the photography theorist Anna Fárová and her husband, painter Libor Fára. In 1964, Kolář presented his works at his first solo exhibition. In October 1968, after the Warsaw Pact invasion of Czechoslovakia, he emigrated to Canada,where he worked as an assistant in the molybdenum mines and as a worker in the nickel smelters in Manitoba. In Canada and the USA, Kolář met with photographers Michael Semak, William Ewing and Cornell Capa. In 1973, however, he returned to Czechoslovakia through Paris and London. His return to the communist country was questioned by state authorities and Kolář was interrogated by police on several occasions. As a former emigrant (and therefore considered unreliable by the regime), he gradually lost the possibility to work as a photographer. At the time of deep “normalization”, he worked as a laborer in Nová Huť Steelworks However, he covertly continued his photographic documentation of the Ostrava region. In 1985, he was allowed to devote himself to free-lance photography. In 1994, after the Velvet Revolution, he began to teach documentary photography at FAMU in Prague, where he was appointed Associate Professor (in 2000).
Photographer from Cologne, Germany. Finding the darkness in life, to see the light.
“Photography is not for the satisfaction of others. Neither is it some kind of responsibility or mission. It is a means to fill a personal void.”
John Thomson (14 June 1837 – 29 September 1921) was a pioneering Scottish photographer, geographer, and traveller. He was one of the first photographers to travel to the Far East, documenting the people, landscapes and artefacts of eastern cultures. Upon returning home, his work among the street people of London cemented his reputation, and is regarded as a classic instance of social documentary which laid the foundations for photojournalism. He went on to become a portrait photographer of High Society in Mayfair, gaining the Royal Warrant in 1881.
Fotógrafo freelance desde 1987, primero como miembro de la agencia Cover, y desde 1992 es miembro de la agencia Vu (París).
Publica regularmente en los principales medios españoles y extranjeros. Mantiene una estrecha relación con El País Semanal desde 1992 (donde además trabajó como editor gráfico en 1995-96), y con el Magazine de La Vanguardia y la edición española de National Geographic.
Tiene obra en la colección de la Comunidad de Madrid, el Museo Marugame Hirai de Japón, la colección del Ayuntamiento de Alcobendas, el Museo Municipal de Arte Contemporáneo de Madrid, y en la Photogalería de La Fábrica, Madrid.
I’ve always been strongly affected by the environment, since I was a young child living beside a nuclear research lab in California. It was not outside of town but in it. Sometimes we’d hear, and feel, open-air explosions, some of which, I would learn later, contained depleted uranium. It was the height of the Cold War and people did not ask many questions then. At 7, we moved to the industrial New York City metropolitan area. Industrial contamination was so close to our leafy neighborhood, the wind sometimes carried fumes from refineries shattering our Rockwellian pretensions. Early on, I hatched a plan to move back westward away from the city to where there were mountains and forests; to the Rockies, then California again before landing in Tokyo. Naturally, I suppose, I became a documentary storyteller and a collector of visual evidence from my base in Asia for the past 2 decades. The documentary work focuses on humanity’s relationship with the environment and the ecological consequences of rapid development in East Asia, including violations of indigenous land and human rights. On the street, an “out of the corner of the eye” immediacy drives the work to peer beneath the surface at what is unspoken.
The work has been published and exhibited throughout the world and led to four monograph photo books, the first being “Empire: Impressions from China” and the latest on the “Black Tsunami: Japan 2011” on the epoch-changing triple disaster in Japan. Projects have been cited with the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar), etc. In 2015, I founded EverydayClimateChange (ECC) Instagram feed, where photographers from 6 continents document global climate change on 7 continents. ECC bears witness that climate change is not happening “over there” but it is also happening right here and right now. ECC is not a western view on climate change because photographers come from the north, the south; the east and the west; and are as diverse as the cultures in which we were all raised.
Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.
Donna Ferrato is an internationally-known documentary photographer. Her gifts for exploration, illumination, and documentation coupled with a commitment to revealing the darker sides of humanity, have made her a giant in the medium. She has four books including Living with the Enemy which sold over 40,000 copies, and Love & Lust, published by Aperture. She has participated in over 500 one-woman shows and has received awards such as the Robert F. Kennedy Award for Humanistic Photography (1987), the Missouri Honor Medal for Distinguished Service in Journalism (2003), and the Gender Fairness Award from the New York State Supreme Court Judges (2009). She founded a non-profit called Domestic Abuse Awareness for over a decade and in 2014 launched a campaign called I Am Unbeatable, which features women who have left their abusers. In November 2016, TIME magazine announced her photograph of a woman being hit by her husband (1982) as one of the “100 Most Influential Photographs of All Time.” Currently, Ferrato is documenting her rapidly-changing New York neighborhood of Tribeca for a new book, and leads experimental photo workshops called The Erotic Eye.