Don Hudson

I was born in Detroit, Michigan in 1950 and have lived in the area my entire life. In 1972 I decided to act on my love of photography and enrolled in art school. During my two years there I studied the language, both the history and the history-in-making, honed my technical skills, and most importantly, began an association with like-minded souls playing the game of photography. For 40 years, through peaks and valleys of activity, my playing of the game has been about my personal relationship with how the camera describes the appearance of truth in a photograph. You will have to look at the photographs for further explanation. I consider myself a thoughtful, and proudly amateur photographer. A book of my photographs from the last century, From The Archives, has recently been published in France.

Pedro Valtierra


Pedro Valtierra nació en Fresnillo, Zacatecas, el 29 de junio de 1955. Se inició en 1973 como auxiliar de laboratorio de fotografía y a partir de 1975 se desempeñó como fotógrafo en la Presidencia de la República. En 1977 ingresó al periódico El Sol de México y un año después se incorporó al diario unomásuno que dirigía Manuel Becerra Acosta.
En 1984 creó la Agencia de fotografía Imagenlatina; el mismo año fue fundador y jefe de Fotografía del diario mexicano La Jornada en un primer periodo de 1984 a 1986 y por segunda ocasión de 1995 al 2000.
En 1986 fundó la Agencia de fotografía Cuartoscuro, de la que es director hasta la fecha y desde 1993 edita la revista del mismo nombre, de la que también es director.
Fue presidente de la Sociedad de Autores de Obras Fotográficas de 1988 a 1991. De 1990 a 1992 dirigió la revista Mira junto con el periodista Miguel Ángel Granados Chapa.
En 2006 fundó la Fototeca de Zacatecas Pedro Valtierra, la cual dirige hasta la fecha. El fotógrafo ha destacado por su gran labor fotoperiodística dando testimonio de los sucesos noticiosos internacionales más importantes en los últimos 30 años, entre los que se hallan: la Revolución Sandinista, (1979), el movimiento revolucionario de las Fuerzas Armadas de la Resistencia Nacional (FARN) en la República de El Salvador (1980), la lucha de la Unión Revolucionaria Nacional Guatemalteca en 1982 y ese mismo año el levantamiento del Frente Polisario de la República Árabe Saharauí Democrática en contra del gobierno de Marruecos en 1982, la caída en Haití del dictador Jean Claude Duvalier en 1986, la visita del Papa Juan Pablo II a Cuba en 1988 y fotorreportajes en Venezuela, Colombia, Panamá, Chipre, entre otros países.
En el ámbito nacional, Pedro Valtierra realizó una cobertura fotográfica sobre diversos acontecimientos de gran importancia histórica para nuestro país tales como la nacionalización de la banca en 1982, los terremotos de 1985, los conflictos poselectorales de 1988, el levantamiento armado del Ejercito Zapatista de Liberación Nacional (EZLN) en 1994, el asesinato de Luis Donaldo Colosio, además de reportajes sobre diversos aspectos socioculturales de México: la comunidad Oaxaqueña del El Trapiche, Xococapa en la Sierra de Veracruz y Golochán en Chiapas, la migración, los indígenas de la Sierra Tarahumara, entre muchos otros. Ha retratado a destacados personajes de la historia reciente de México y otras partes del mundo, ex presidentes, políticos, líderes religiosos, empresarios, escritores, artistas: Jorge Luis Borges, Octavio Paz, Jaime Sabines, José Saramago, Gabriel García Márquez, Elena Poniatowska, Carlos Montemayor, Rufino Tamayo, José Luis Cuevas, Gabriel Figueroa, Carlos Monsiváis, María Felix, se cuentan entre éstos.
Desde 1984 imparte talleres y conferencias de fotoperiodismo mexicano contemporáneo en medios de comunicación y universidades.
En el medio editorial Pedro Valtierra ha participado en diversas publicaciones, entre las que se encuentran, en 1980, La Batalla por Nicaragua publicado por el periódico unomásuno en 1980 por y ese mismo año también participa en el libro Nicaragua, un país propio editado por la Universidad Nacional Autónoma de México.

Horacio Coppola


Coppola was born in Buenos Aires, the youngest of 10 children. His parents, Italian immigrants, were well off, and he studied art, music, law and languages. He was about 20 when he began taking photographs.
He traveled to Europe in the 1920s and ’30s. Photography was coming into its own as an art form, with pictures being shot from odd angles and cropped for effect.
He met his future wife in Germany. Later, in London, he took portraits of famous artists, and worked on a book about Mesopotamian artifacts in the Louvre and the British Museum. He and his wife went back to Argentina in 1936. That year, he was commissioned to photograph Buenos Aires for its 400th anniversary, and produced streetscapes that captured the romance, vitality and squalor of a great city.
He and Ms. Stern had a daughter, Silvia, and a son, Andres. They later divorced. In 1959, Coppola married Raquel Palomeque, a pianist.
Coppola was the author of the photographs that appeared in the first edition of “Evaristo Carriego” (biography) (1930) by Jorge Luis Borges. He was one of the pioneers photographers from Argentina and a key figure in Modernism. He studied in the Bauhaus during the thirties.
He was named “Illustrious Citizen of Buenos Aires” and at 100 had a retrospective exhibit at the Malba Museum in Buenos Aires.

Mario De Biasi

 

Deported in Germany, Mario de Biasi begins to take photographs in 1944 thanks to a camera found in the rubbles of Nuremberg. He becomes famous with his portraits of actresses such as Claudia Cardinale, Brigitte Bardot or Sophia Loren alongside the depiction of the Iran Shah’s wedding. Yet what earned the Italian photographer the nickname of the ‘Italiano pazzo’ (the mad Italian) was his reports of conflicts such as the Hungarian revolution of 1956 or extreme experiences such as his Siberian exploration, throughout the world. Uniting the glamour of actresses to social episodes, Mario de Biasi created one of his most iconic images thanks to a group of Italian men observing the curvaceous back of Moira Orfei.

Shomei Tomatsu

A photographer looks at everything, which is why he must look from beginning to end. Face the subject head-on, stare fixedly, turn the entire body into an eye and face the world.

Shinya Arimoto

Born in Osaka
, Japan, in 1971, Shinya Arimoto received his degree in Visual Arts from Osaka University and now lives in Tokyo, where he runs his own photography gallery. His work has been exhibited widely around Japan and was awarded the Taiyo Award in 1998.

Harry Gruyaert

 

Born in Antwerp in 1941 and a member of Magnum Photos since 1982, Harry Gruyaert revolutionized creative and experimental uses of color in the 1970s and 1980s. Influenced by cinema and American photographers, his work defined new territory for color photography: an emotive, non-narrative, and boldly graphic way of perceiving the world.

In 1972, while living in London, Gruyaert created the striking series TV Shots by turning the dial on a television set at random and photographing the distorted images he saw there. A later series, Made in Belgium, portrays his ambivalent relationship with his homeland in a palette of saturated tones. In his most recent work, he embraces the possibilities of digital photography, taking further creative risks to capture light in new ways.

Gruyaert’s images are autonomous, often independent of any context or thematic logic. This volume, the first retrospective of his work, is a superb overview of his personal quest for freedom of expression and the liberation of the senses.

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Kristina Syrchikova


Kristina Syrchikova is a documentary photographer and a visual storyteller based Samara, Russia.

Her work primarily focuses on social and human rights issues in post-Soviet space. 

Kristina first studied information technology, before turning to contemporary photography at the FotoDepartament Institute and documentary photography at the DocDocDoc School in St Petersburg. 

Kristina’s work has been recognized with industry awards such as New Talents, Marilyn Stafford FotoReportage Award 2018, The Kolga Photo Award, Efremov Report Photography Competition, ESPY Photography Award, Young photographers of Russia among others.

Her work has been presented in exhibitions and screens in Russia and abroad, including Asian Women Photographers’ Showcase (Objectifs, Singapore, 2017), Orvieto Fotografia 2017 (Palazzo Coelli, Orvieto, Italy, 2017), Third Documentary Photography Days (Photography Foundation of Turkey, Istanbul, Turkey, 2016), Evolution of sight. 1991−2016 (Photobiennale 2016, Central exhibition hall Manege, Moscow, Russia).
Her work has appeared in multiple online and print publications worldwide including Musee Magazine (USA), Der Greif (Germany), COLTA.RU (Russia), Takie Dela (Russia), IM Magazine, Foto&video (Russia), dekoder, Science and Life (Russia), Russian reporter, Splash & Grab, Bird In Flight, Dodho Magazine, FOG (Germany).
She is a member of The Russian Union of Art Photographers.

www.syrchikova.name

Jeremy Mann

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Dougie Wallace


Glasgow born, London-based photographer Dougie Wallace is a shutterbug whose artistic vision extends outside of the realm of traditional fashion photography.
Dougie Wallace’s website describes him as a “documentary photographer,” and the snaps included in this collection of his street photography only serves to strengthen the claim. His street style shots eschew the conventions associated with the burgeoning field of candid street photography. Instead of taking pictures of well-coiffed and elegantly dressed streetwalkers, Dougie Wallace shoots subjects that are notable for their ridiculousness.
Some highlights of Dougie Wallace’s street flicks include a shot of a well-oiled, slightly overweight, middle-aged man clad only in a blue speedo and 1970s aviator frames. The image, like most of Dougie Wallace’s, is hard to turn away from and leaves the viewer with conflicting feelings of humor, intrigue, and confusion.

Jane Evelyn Atwood

 

 

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Born in New York and living in Paris since 1971, Jane Evelyn Atwood is one of the world’s leading photojournalists. In 1976, Atwood bought her first camera and began taking pictures of a group of street prostitutes in Paris. It was partly on the strength of these photographs that Atwood received the first W. Eugene Smith Award, in 1980, for another story she had just started work on: blind children. Prior to this, she had never published a photo.
In the ensuing years, Atwood has pursued a number of carefully chosen projects-among them an 18-month reportage of one regiment of the Foreign Legion, following the soldiers to Beirut and Chad; a four-and-a-half-month story on the first person with AIDS in France to allow himself to be photographed for publication in the press (Atwood stayed with him until his death); and a four-year study of landmine victims that took her to Cambodia, Angola, Kosovo, Mozambique and Afghanistan-always with the same personal and passionate approach.
Jane Evelyn Atwood’s work reflects a deep involvement with her subjects over long periods of time. Fascinated by people and by the idea of exclusion, she has managed to penetrate worlds that most of us do not know, or choose to ignore. She limits her stories to those which truly compel her, devoting to each subject the time necessary-in some cases, years-to explore it in depth. In 1989 she started to photograph incarcerated women, eventually managing to gain access to some of the world’s worst penitentiaries and jails, including death row. This monumental ten-year undertaking- encompassing forty prisons in nine countries of Europe and Eastern Europe, and the United States-remains the definitive photographic work on women in prison to date. It was published as a book in both English and French in 2000 and continues to be exhibited internationally. (see Books; Exhibitions)
Atwood’s particularity as a photographer lies in her in-depth approach, but she has also covered such news events as the Kobe earthquake of 1995, the World Trade Center attacks on September 11, 2001, and the Democratic National Convention in 2004.
Jane Evelyn Atwood describes her method of work as “obsessive”. She does not move on to a new subject until she feels she has completely understood the one at hand and her own relation to it, and until she believes that her pictures reflect this understanding.

Jack Birns


Jack Birns (1919–2008) was an American photographer. He was well known in photographic circles as an award-winning foreign correspondent for Life magazine, and in the commercial diving world as President of BIRNS Incorporated.
In 1946 Birns moved to Los Angeles, California, and free-lanced as a magazine photographer for a year, during which time he set a record for free-lancers working for LIFE: 30 pages and a cover in 6-months’ work. LIFE hired Birns to cover the Civil war in China and during 1947 he set another record for LIFE staff photographers for pictures and pages, as he captured on film a vast country undergoing fundamental changes, and a society characterized by poverty, petty crime, homelessness and military rule. During this time, Birns was paired with journalist Roy Rowan. This energetic war coverage (China, Burma, India, Philippines, and Malaysia) won for Birns a coveted recognition from the prestigious Overseas Press Club of America. For the first time in its history the OPC established a special award for photographers to honor Birns’s work, and the award was given to Birns by General George C. Marshall, chief of staff during WWII and, later, Secretary of State.

Sara Zanella

 


I started photographing at high school with a Contax T3 with black and white film because I could develop them in my mother‘s bathroom and work independently. When I discovered photography I could find a way to see my daily life differently, I learnt to have a step inside my surroundings, into the nature of my relationships and environment and also a step outside of the everyday life, that let me read beyond the appearances and find another sphere of conception of time before more melancholic then as a endless river of events. From those years I have been photographing diaries, my home, my school, my classmates and my family, at the time I got a really deep encounter with the diaries of Noboyoshi Araki, Nan Goldin and Daido Moryama. In them I found those instincts that were driving me in the photographic process , for example, the closeness to the subject, the condition of solitude, the flowing of life and changes, the power of poetry and love and the movements of curiosity and restlessness that still nowadays are in the core of my work. In these years I acquired and experienced the power of photography. Images are like a window where we can access to a universal human layer, investigating the core of who we are.

I use my curiosity to travel and to explore places I’ve never been, photographing. The center of my work is the research as a human being in the world, the process knowing the world we are living in, the position of men in nature, a journey in the space and in the time in history of humanity and earth. My goal is building a record of this in a poetic and direct way.

What drive me is instinct and curiosity.

Genesis Cabrera


Genesis Cabrera is an Artist – Photographer born in Venezuela and living in New York City. Her work emphasizes her passion for portrait and fashion where through portraits she reflects personality, moods, natural and raw imagery.
Genesis deconstructs her own images adding different elements to create multiple artworks collages and to show different perspectives of the same person.
Her inspirations come from natural human beauty, faces, and artists and photographers such as Horst, Man Ray, Harley Weir and movements like Dadaism.

Chang Chao-Tang

Chao-Tang Chang born in1943 November 17 in Panchiao City, Taipei County, Taiwan. Chang Chao-Tang is Taiwan’s most representative photographer. During the 1960s, in the conservative society of Taiwan, Chang Chao-Tang was a college student, profoundly moved and influenced by the social realist works in literature and surrealist painting. He published a series of absurd works that expressed his sense of ridiculousness and desolation. These included the works “Blurriness”, “White powder on peoples’ faces”, “Figure without a head”, and “Shaken-up image of the body”. He found the camera a direct way to relieve his oppression as well as release his rebellious energy. His unique style made a great impression on Taiwanese photography, and he not only had exhibitions at home but also received international appreciation. In 2013, he had his first major retrospective exhibition in the Taipei Fine Art Museum.

Rachel Woolf

I am a Denver-based independent visual journalist.

My fascination in photography began with a disposable Walgreens camera in Santa Fe, New Mexico. Now, I specialize in documentary photography, videography and portraiture. My work aims to intimately show aspects of humanity intersecting with economic and social issues.

Some of my clients include The New York Times, The Washington Post, CNN, US News and World Report, Bloomberg, Education Week, ESPN Magazine and Getty Images. I graduated from Ithaca College with a B.A. degree in Documentary Studies, attended the Eddie Adams Workshop XXVII in 2014 and the Missouri Photo Workshop in 2015.

My work placed 2nd in the National Press Photographers Association’s Best of Photojournalism Contemporary Issues Story competition and received “Best of Show” in the Michigan Press Photographers Association competition.

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Martha Micali


There is not a minute in my day when I am free of the sensation of walking a footbridge half a meter wide between two yawning chasms of nothingness. And it is this word, “nothing,” that I find every moment on the tip of my tongue…
Sometimes I vent by filling an entire page of the present diary with these sacred syllables, “No-thing.” Then, all of a sudden, confidence restored and self imbued with physical wellbeing, as after a shower or a successful defecation, I turn over a new leaf and start writing things again. How could I do otherwise? If in a game one can only cheat or lose, one cheats.
Ever since I have discovered that my dreams are nearly always self-slanders or spiteful gossip at my expense, I don’t pay them much attention, I simply brush them aside. And yet this latest one, with its masked and menacing folly of unreason, leaves a lump in my throat.

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Inge Morath

 

 

 


I personally arrived slowly at photography. I studied languages at university, took some courses in journalism, worked first as a translator and then as an editor for the Information Services Branch of the occupying American Forces in Salzburg, later in Vienna. In my spare time I wrote playlets for the Red-White-Red network and articles for various illustrated magazines, among them the Wiener Illustrierte. I started to be asked to supply some suitable photographs with my stories, which left me at a loss. I had never seriously occupied myself with photography; I did not even know a photographer. I had always been passionately interested in painting and drawing, but the artistic poverty of the “Third Reich,” where our only chance to see the major achievements of contemporary art was in (from my side at least) eagerly awaited exhibitions hung in school corridors under the title Entartete Kunst (degenerate art, including Picasso, etc.), provided no possibility for an education in visual matters. So I started to buy LIFE Magazine and photographic books and in my search for photographers I met Lothar Rübelt and Franz Hubmann and Erich Lessing and Ernst Haas.

Meanwhile I had become the Austrian editor of Heute magazine, published by the Americans in Munich, and started to work with Ernst Haas as a photography-writer team. Heute editor Warren Trabant forwarded a couple of our stories to Robert Capa, who summoned us to join the young Magnum Photos in Paris. Supplied with much food and a little money we boarded a train, left Vienna and stayed in Paris. Besides my work with Ernst, I started to write texts for the photographs sent to the Paris office by the then members of Magnum from all kinds of countries: Cartier-Bresson from the Orient, George Rodger from Africa, David Seymour from Greece, etc. I started to accompany different photographers on assignments for which also I had done the preparatory research, and later edited their contact sheets. I think that it is from this work that I learned the most.

A short marriage to an Englishman brought separation from Magnum and a move to London. I continued to write stories but found to my amazement that suddenly now that I was no longer accompanied by photographers the world around me seemed to be filled with things that wanted to be photographed. I had finally discovered my own way to express what interested or obsessed me in a way with which I could live. After the war I had often suffered from the fact that my native language, German, was for most of the world the language of the enemy, and although I was able to write stories in English or French it did not touch the roots. So turning to the image felt both like a relief and an inner necessity.

I took up a period of apprenticeship with Simon Guttmann, who had the reputation of a querulous genius of the picture magazine world; he had played a role in the early days of the Berliner Illustrierte under the Ullsteins. Somewhere along the way, Robert Capa had been one of his apprentices, too. Now Simon Guttmann worked as an adviser to Picture Post. I bought a used Leica, worked incessantly and, as I was known as the only non-photographing person in this milieu and knew I would not be taken seriously if I suddenly showed up with photographs, I turned my name around and, as Egni Tharom, started sending my picture stories to any magazine I thought might be interested. Sometimes I sold something, sometimes I got letters praising my eye but deploring my technique. I spent nights in the darkrooms of professionals, learning a lot as a free assistant. For Mr. Guttmann I stood in front of theatres to take pictures of arriving luminaries, and covered catastrophes like floods and fires.

As I was selling more pictures, my confidence grew. I went back to Paris and worked for three months on a story about the Prêtres Ouvriers (worker priests), the first militant Catholic priests who, as “missionaries within their own country” and with permission from their orders, lived the life of workers in factories and the poorest quarters of Paris. It was a difficult story, and when I finally was finished, pictures enlarged and text written, I decided to risk it. I showed it all to Capa, asking his opinion about the photographs which he liked. So I confessed that I had taken them and after the first shock he said, “Ok, show me the rest of your work; if it is as good we’ll take you.”

So I was invited to join Magnum, first for a year as an associate, then as a full member. There followed many years of constant travel, shooting stories in different parts of the world, as well as industrial work, stills for movies and theatre, fashion, works for art magazines shot with big cameras and, more and more, portraits. In 1956, my first book Fiesta in Pamplona appeared. And so it has really more or less been going on until today.

Giovanni Nogaro

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Dario Mitidieri

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