I am photographing my life. It is as simple and complex as that. Presently, my life is overrun by exquisite little creatures known as children. As they explore the elements with carefree abandon, I observe with camera poised, balanced between protection and permission.
I work from a place of intuition, capturing the action as it unfolds and stealing sidelong glances at the details of our environments. The images are juxtaposed to create an introspective narrative, mining the richly ambiguous state of parenthood, akin to the murky realm between a river’s glittering surface and its hidden undercurrents. Through the camera’s lens I am transported, traversing the spaces between shadow and light, dreams and reality, delight and disquiet.
Muzi Quawson is a London-based artist and photographer who documents different aspects of American society. Quawson’s practice explores the nature of identity, focusing on people and communities that have adopted an existence as society’s alleged outsiders.
Born in a small coal-mine village in 1967, in Yamaguchi prefecture, western Japan, where he lived until 18. Entered college in kyoto and he studied Latin American affairs. After college performed as a club DJ, worked as a construction worker and he got a job with a cement manufacturer, worked tunnel construction sites across the country as a concrete expert. And he got a Leica and he began photographing the places he worked. After 18 years working, he quit his job and photographed countries and regions wandering around the world. He now workｓ as a freelance photographer based in Yamaguchi
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.
Aurore Valade is a french photographer born in 1981. She creates images that play with the iconic register of scenography. In these elaborate stagings, we are often confronted with clichés, meaningful reflections of a social, economic or cultural situation in contemporary life.
Reed Young is a New York-based photographer. Through colorful portrait essays he tells stories of people and places that fascinate him, with a particular focus on those whose narratives typically live outside the spotlight. Recently these have ranged from the voice actors that dub popular Hollywood films into Italian, to a town that resides in a single building in rural Alaska. Reed’s stories have been featured by The New Yorker, The New York Times, National Geographic, TIME magazine, NPR, Wired and The Guardian
Eric Bénier–Bürckel is professor of philosophy and writer.
He began his photographic work in 2013.
His research, on the bottom as on the form, tends to put the representation in question or even create discomfort in representation. It is turned primarily towards experimentation.
Born in a small coal-mine village in 1967, in Yamaguchi prefecture, western Japan, where he lived until 18. Entered college in kyoto and he studied Latin American affairs. After college performed as a club DJ, worked as a construction worker and he got a job with a cement manufacturer, worked tunnel construction sites across the country as a concrete expert. And he got a Leica and he began photographing the places he worked. After 18 years working, he quit his job and photographed countries and regions wandering around the world. He now workｓ as a freelance photographer based in Nagoya and Yamaguchi.
Junku Nishimura, a Tokyo-based street photographer, shoots with the Leica M5, or as he likes to describe it, he’s a “midnight boozer with Leica M5.” Junku has a distinctly retro style of shooting, which reflects his own reluctance to accept change and let go of his favorite worn in possessions. He is also a member of Ante Portas
, a group of photographers on Tumblr who post one image, one series or sequence from their lives each month.
Iwase Yoshiyuki was born in 1904 in Onjuku, a fishing village on the pacific side of the Chiba peninsula, which encloses Tokyo Bay on the east. After graduating from Meiji University Law School in 1924, he took up lifelong pursuits, heading the family sake distillery and documenting the receding traditions of coastal Japan. In the late 1920’s Yoshiyuki received an early Kodak camera as a gift. Since the main livelihood of the town came from the sea he gravitated there, and soon found a passion for “the simple, even primitive beauty” of ama – girls and women who harvested seaweed, turban shells and abalone from beneath the coastal waters..
This way of life has now completely disappeared but Yoshiyuki’s photographs provide a stunning visual testament to these fascinating women. His total output is of a very hight standard but it is his photographs of the ama divers which are truly iconic
No se lo que significa pertenecer a un lugar, un país, a un nombre. No me emocionan las calles donde me crié porque mis ojos sólo son sensibles a lo nuevo, y lo viejo no es volver, es lo que se estanca. Mi cabeza está en el futuro, pero mis hormonas arden y corren sin saber que así solo se va más despacio. A veces añoro mi cuerpo, a veces mi cabeza. Y verlas jugando de nuevo. Una decidió morirse, y todo se detuvo en la despedida. ¿En que momento dejó de ser correcto sentir sin razonar?
Nadie me contó que el ritmo se rompía con miedo. Que la confianza no existe ni se entiende sin sentir. Y que la indefinición hace de red para la mierda, y la mierda hace de red para lo bello, y lo bello para el dolor
Paul Almasy (1906–2003) was a pioneer of photojournalism. For more than six decades he traveled the world with his camera and during this time took about 120,000 photographs. Almasy termed his oeuvre an “archive of the world”, cataloguing the photographs by country – and for each country he visited he then sorted the photographs by category: state, economy, culture, everyday life, animals and plants, being but a few of them. In this way, he established a detailed and comprehensive picture archive that today constitutes a unique document of 20th century history.
Paul Almasy’s oeuvre bears witness to his interest in the fabric of society and his preference for things foreign. His black-and-white work focuses almost always on people. Almasy is not concerned here with social class or milieu: he photographed the powerful men of his time, Bohemian artists in Paris, but also midwives in Africa, rice farmers in Indonesia and street children in Mexico. Even where Almasy addresses poverty and distress, he never does this as a voyeur but participates respectfully in what he sees while preserving his distance as an observer. It was an approach he internalized: “When I took photographs, I never crouched down like a cat about to pounce on its prey. I never attacked with my camera.” Paul Almasy always viewed himself as a photojournalist and never as a photographer. He wanted his pictures primarily to inform the viewer, meaning that the form was never to outweigh the content. Nevertheless, Almasy’s photographs are entrancing, attesting as they do to his unerring eye for subject matter, angle and cropping.
At the tender age of 17, Paul Almasy left his native Budapest and after various interludes, among others in Vienna and Munich, he ended up in Paris. It was the city that was to become the second home and main point of reference for the self-taught photojournalist – and it was likewise his gateway to the world. It was from here that he set out on his countless world trips on behalf of WHO, UNESCO and UNICEF. For a time, Paul Almasy was a visiting professor lecturing at the Sorbonne. He became French citizen in 1956. In September 2003, Paul Almasy died at the age of 97 in Paris.
Eugeni Forcano (Canet de Mar, 1926) entra en el mundo de la fotografía como un vendaval al incorporarse a la revista Destino, Ilamado por Vergés y Néstor Luján, en 1960. Autodidacta e intuitivo, mira con sagacidad, pasión e ironía cuanto le rodea. En 1964 Juan Perucho destacaba la profundidad humana de su obra. Y Josep Pla, siempre parco en elogios, dice de Forcano en 1966: “Es un gran fotógrafo, un gran artista. Es diferente e imprevisible. Singular”. José Corredor–Matheos afirma: “Nos hace ver que la realidad es sorprendente siempre”. Forcano tiene el don de la anticipación. Andrés Trapiello asegura que “lo más importante en sus fotografías es el latido de todo lo que aún vive”. Y Josep Maria Espinàs percibe que “a sus personajes se les oye hablar”.
La fotografía marcó su vida para siempre. Evolucionista y soñador, va cubriendo etapas: moda, ilustración, simbolismo… y una larga investigación sobre el color como nueva forma de expresión artística. Jorge Rueda escribió sobre ella: “Por fin has conseguido fotografiar los suspiros”. Javier Pérez Andújar lo define: “Es, sobre vanguardista, un fotógrafo vitalista que ha entendido el lenguaje de su tiempo”.
Todo parece confirmarlo. Josep Maria Huertas Claveria dice que “es uno de los grandes fotógrafos que ha dado Cataluña”.
Ilya Rashap was born in Russia in 1979. Beyond just a mimetic function, he tries to photograph something which does not exist. Aesthetics are important but it is not enough for the photograph to be beautiful. Whether a landscape or a portrait, a good photograph should be above all a metamorphosis of reality and appeal to the viewer’s imagination
The Belgian photographer joined the pictorialist movement with his images of landscapes resembling paintings. Working on light and grey monochromes, Leonard Misone’s images diffused foggy and yet luminous atmospheres highlighted by dramatic skies. There is something very tender and timeless within his photographs that, with their poetry and sensibility, also evoke Humanism and Jacques-Henri Lartigue’s easy living. With Leonard Misonne, the difference is that where easy living had to do with an elegant jet-set within Jacques-Henri Lartigue’s work, it has more to do with serene rural scenes.