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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Noell S. Oszvald

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Johanna Knauer

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James Whitlow Delano

Kabuli boys show off their captive bird in the old city, Afghanistan.

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.

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Larry Towell

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Magnum Photos

Pedro Luis Raota

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Pedro Luis Raota (1934 – 1986) fue un fotógrafo argentino conocido internacionalmente, se le considera uno de los mejores fotógrafos del mundo y es, sin duda, el fotógrafo argentino que mayor número de premios ha recibido en concursos y salones fotográficos de todo el mundo.

Su fotografía mostraba, a veces, el lado dramático de la vida, pero siempre trataba los temas con ironía y humor. A veces se le criticó porque algunas de sus fotografías fueron preparadas previamente, pero él siempre respondía : “Un fotógrafo imagina una imagen, y si esa imagen que imagina no existe, la creará como hace un director de cine”.

Sabine Weiss

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Snjezana Josipovic

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Bintoro Bink

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Shomei Tomatsu

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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.

Shomei Tomatsu

William Eugene Smith

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William Eugene Smith was born in 1918 in Wichita, Kansas. He took his first photographs at the age of 15 for two local newspapers. In 1936 Smith entered Notre Dame University in Wichita, where a special photographic scholarship was created for him. A year later he left the university and went to New York City, and after studying with Helene Sanders at the New York Institute of Photography, in 1937 he began working for News-Week (later Newsweek). He was fired for refusing to use medium-format cameras and joined the Black Star agency as a freelance.

Smith worked as a war correspondent for Flying magazine (1943-44), and a year later for Life. He followed the island-hopping American offensive against Japan, and suffered severe injuries while simulating battle conditions for Parade, which required him to undergo surgery for the next two years.

Once recuperated, Eugene Smith worked for Life again between 1947 and 1955, before resigning in order to join Magnum as an associate. In 1957 he became a full member of Magnum. Smith was fanatically dedicated to his mission as a photographer. Because of this dedication, he was often regarded by editors as ‘troublesome’.

A year after moving to Tucson to teach at the University of Arizona, Smith died of a stroke. His archives are held by the Center for Creative Photography in Tucson, Arizona. Today, Smith’s legacy lives on through the W. Eugene Smith Fund to promote ‘humanistic photography’, founded in 1980, which awards photographers for exceptional accomplishments in the field

Anuchit Sundarakiti

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Cindy Sherman

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Kristen Hatgi

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A Few years ago studying at the Art Institute of Boston I became aware of wet plate collodion and how it was being used by contemporary photographers such as Mark Osterman and France Scully Osterman and Sally Mann. I had no idea what it involved or where to begin. All I had heard was “it is difficult and dangerous.” Both sounded right up my ally, but still illusive. Soon after my initial interest, and by great luck, I was introduced to the process by a friend traveling through Denver, Mark Katzman. He made a few portraits of my partner Mark Sink and me.  I was thereafter memorized and completely determined to make them myself. It was now real and possible. I went back to school in Boston and spent those two semesters collecting chemicals, knowledge and equipment. After graduation, Mark and I started off the summer with a huge crash course in wet plate collodion, spending all our free time shooting. Gathering chemicals, equipment, beautiful faces, bodies, flowers, and ideas. We became a team; each being the others inspiration, muse, assistant, plate coater, chemical mixer, costume designer, and lunch maker. Our hands, feet, cloths and often face were marked with silver nitrate stains. It has been my great obsession ever since.

White Silence, Pavel Tereshkovets

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Pavel Tereshkovets is a fine art and documentary photographer from Belarus, now residing in San Francisco, California.

Raised up in a travelling addicted family Pavel began to make photographs already in his childhood. He travelled with his old soviet cameras a lot and visited almost all countries of Europe as well as former soviet countries, Israel, the Jordan, North Africa and the USA already by the age of 20. “The feeling of endless freedom during these trips, – says the author, – was the point where my inspiration for photography began”.

Having a stable job position Pavel was trying to combine his creative addictions like music, photography and writing with his work. But 2010 he suddenly drops his job and decides to dedicate his life to things he really likes. He starts playing in a rock-n-roll band, keeps on writing his first book and travels all around the world. It all serves him as an inspiration in his world of photography.

In 2012 he works as a freelance photographer in China and then moves to the United States.

Pavel’s works are widely filled with ideas of loneliness, isolation and emptiness. He tries to uncover the human being’s nature and its feelings, fears and instincts. The author appeals to the problem of people who are alone even when among thousands of others. Being a very sociable person he though inclines in his works towards the opposite and dark side of his life.

Victor Bezrukov

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I’m Victor Bezrukov – Israel based Unplugged Freelance Photographer, IT specialist and Information Security consultant.

I was involved into photography by my son in 2005 and passed not conventional way from digital to Analog photography.
Today i use both formats and even started to develop BW film at home. My interests in photography possible describe as “under construction” – i’m still searching what i love to photograph – Black and White, Street, Miksang, Portraits, Landscapes and to experiments with different gear. I love to bring some dramatic look to my works. Contrasts, Geometry, sometimes Emptiness and Melancholy are my best friends in this mission.

Natalia Mindru Photomicona

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Arnaud Dumontier

Frida Kahlo a 18 anni nel 1926. Foto di Guillemero Kahlo

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Annett Turki

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