Junku Nishimura

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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

Harry Gruyaert

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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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Aurore Valade

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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.

 

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Reed Young

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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

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Solitudes et autres étrangetés, Eric Bénier–Bürckel

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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.

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Junku Nishimura

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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.

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Iwase Yoshiyuki

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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

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Silvia Grav

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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
Portafolio

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Paul Almasy

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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.

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Eugeni Forcano

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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

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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

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Leonard Misonne

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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.

Sasha Gusov

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Monique Jaques

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Monique Jaques is a photojournalist based in Istanbul. She has spent the past four years focused on documenting issues in the Middle East as well as Afghanistan and India.

After graduating from New York University’s Photography and Imaging program she traveled extensively through the region and landed in Turkey. Recently her project ‘Gaza’s Girls” was shortlisted for the 2013 Photocrati grant. In 2012 selected as one of the recipients of the PROOF Award for the Emerging Photojournalist for her work in Post-War Libya and featured in the Bursa Photography Festival. She was also featured in the Ian Parry Scholarship show in 2009 and received an Honorable Mention for the 2008 New York Photo Awards.

Her work has been published by The New York Times, The International Herald Tribune, The Christian Science Monitor, The Economist, GEO, The Guardian, and CNN, among others. She is represented by Corbis Images.

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Carol Jerrems

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Carol Jerrems was an Australian photographer. Jerrems studied photography at Prahran College 1967-70. She is mainly known for documenting the counter-culture spirit of Melbourne in the 1970s.

Carolyn Cole

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Carolyn Cole (born April 24, 1961) is a staff photographer for the Los Angeles Times. She won the Pulitzer Prize for Feature Photography in 2004, for her coverage of the siege of Monrovia, the capital of Liberia.
Cole graduated from The University of Texas in 1983 with a Bachelor of Arts, majoring in photojournalism. She earned her Master of Arts degree from the School of Visual Communication within the Scripps College of Communication at Ohio University. She began her career in 1986 as a staff photographer with the El Paso Herald-Post, a position which she occupied until 1988. She then moved to the San Francisco Examiner for two years, before spending another two years as a freelance photographer in Mexico City, working with newspapers such as the Los Angeles Times, Detroit Free Press, and Business Week. In 1992, Cole returned to being a staff photographer, working for The Sacramento Bee, before moving to the Times in 1994.
In 1994, the same year she moved to the Times, she was recognized in their editorial awards for her pictures of the crisis in Haiti. The following year, she was recognized again, this time for her work in Russia.
In 1997, she gained attention for her photographs of dying bank robber Emil Matasareanu, who had been shot after a nationally televised shootout with police. Her evidence was used in the wrongful death lawsuit filed by his family. Her pictures also helped the Times win a Pulitzer Prize for its coverage of the event. Later that year, she was named Journalist of the Year by the Times Mirror Corporation.
Cole has also had difficulties with the law. In April 2000, she was arrested on felony charges for “throwing deadly missiles” at police during protests in Miami’s “Little Havana,” at the height of the Elián González affair. Her critics alleged that this was an attempt to fire up the crowd in order to gain more shocking pictures. All charges were dropped, though, for lack of evidence.
Cole spent time in Kosovo during the 1999 crisis, and in 2001, spent two months in Afghanistan. In 2002, she received the National Press Photographers Association Newspaper Photographer of the Year award for the first time.
In 2002, Cole covered the beginnings of the prominent siege of Bethlehem’s Church of the Nativity, which had been occupied by Palestinian militants. Then, on May 2, she made a last-minute decision to join a group of peace activists who entered the building in solidarity with the Palestinians. Over the nine days that followed, she doubled as a news reporter for the Times, filing several stories. She was the only photojournalist in the building itself. The pictures she took earned her a nomination for the 2003 Pulitzer Prize.
In mid-2003, Cole went to Liberia, as rebels surrounded the capital, Monrovia, demanding the resignation of President Charles Taylor. This trip was to earn her the 2004 Pulitzer Prize, “for her cohesive, behind-the-scenes look at the effects of civil war in Liberia, with special attention to innocent citizens caught in the conflict.” She won the 2003 George Polk Award for photojournalism. In 2004, Cole was named both NPPA Newspaper Photographer of the Year for a second time, for her work in both Liberia and Iraq, and the Pictures of the Year International Newspaper Photographer by the University of Missouri’s Missouri School of Journalism. This made her the first person ever to win all three of America’s top photojournalism awards in the same year. During the year, she also spent time in Haiti, witnessing the fall of the regime of Jean-Bertrand Aristide. Cole has also received the Robert Capa Gold Medal from the Overseas Press Club in both 2003 and 2004, and won two World Press Photo awards in 2004.
In 2007, she won the NPPA Newspaper Photographer of the Year.

Bosi Matteo

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He was born in 1966 in Cesena – that is, in the Italian region of hospitality – where for years he has been living with his loved wife and two sons.

After graduating from the famous Istituto d’Arte della Ceramica di Faenza (‘Art Institute of Ceramics in Faenza’) in 1985, he has begun a long artistic career characterized by continuous experimentation. This has been leading him to use multiple means of expression: from ceramics to painting, from photography to digital techniques.

Since 2000, he is the owner of the Communication Agency “Pixel Planet” S.a.s. Through this, he got to work:
both as communication designer, by creating graphics, packaging, web-design and advertising campaigns,
and as fitter and organizer for Art Museums and Photographic Exhibitions in Italy and abroad on behalf of government agencies and foundations.

An indisputable cameo of his agency is also the commercial photography for Companies that need to produce advertising campaigns, cataloguing and marketing of their own products.

Since 2012 Pixel Planet also offers courses dedicated to Photography, and it has become itself an exhibition space, as well as a place for cultural exchange.

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Iana Tokarchuk

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I was born in the USSR. Currently I live and work in Kiev, Ukraine. My childhood was marked by immersion in art, as I painted ceaselessly from a very young age. At some point I also began writing short stories and plays. This made me pay particular attention to narration in any visual art I do, as an image always tells a story (or stories) to its spectator.

When I was 14 my father gave me and my sister cameras as a present, and by the age of 18 I firmly decided that this is what I want to associate my life with. For 5 years I have been working in fashion photography with my twin-sister, but now we work mostly separately.

Recently I started experimenting with filmmaking and diversifying into different genres of photography.

La nostalgie d’ amour, Horst Kistner

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Adrian Markis

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Fotógrafo argentino de 31 años con residencia en la ciudad de Buenos Aires.

Sus estudios de fotografía comenzaron por el año 1992 estudiando en varias escuelas de fotografía porteñas, Bellas Artes, Foto Club Argentino, Foto Club Buenos Aires, Escuela Creativa de Andy Goldstein, Escuela Motivarte.

Trabajó en asistencias a fotógrafos durante varios años, por el 2003 comienza su desarrollo profesional independiente, comenzando a trabajar para editoriales y  agencias de publicidad.

En el 2004, abre su propio estudio de fotografía publicitaria, y se especializa en publicidad.

Es profesor de fotografía, enseña en Buenos Aires y Montevideo, en el ámbito comercial trabaja para empresas, editoriales internacionales y agencias de publicidad.

Las fotografías de Adrián son potentes, cargadas de tensión, emotividad y sensaciones.

Hasta sus trabajos más documentales están tan colmados de subjetividad que resulta imposible apreciarlas sin comprometerse emocionalmente.

Son imágenes donde lo bello es hermoso y lo oscuro tiene una densidad desgarradora.

El proceso creativo responde siempre a una inquietud inicial: resolver una búsqueda estética.

Su proceso tiene una clara premisa: hacer, hacer y no dejar de hacer nunca.

Cuando deja de sacar fotos por un tiempo, siente culpa.

Piensa que lo más importante es estar haciendo constantemente, y es por eso que nunca se detiene.

Los resultados no son ingenuos: con sus trabajos, Adrián aborda temáticas tan profundas, dolorosas y vigentes como la desigualdad social, la tensión y violencia con la que se vive en la ciudad,   la mediocridad de la vida moderna o lo asfixiante y aplastante que puede resultar la rutina.

Texto: Pedro Palacios

WebSite: Adrian Markis

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