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.

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.

Hugo Cifuentes


Hugo Gilberto Cifuentes Navarro, nacido en Otavalo, Ecuador, en 1923 fue un artista plastico y fotógrafo pionero latinoamericano. Cifuentes comenzó a estudiar dibujo y pintura en la década de 1940, antes de dedicarse a la fotografía. Recibió su primer premio de composición fotográfica en 1949. En la década de 1960, Cifuentes se unió a VAN, Vanguardia Artística Nacional, un grupo de artistas progresistas informales, fundado por Enrique Tábara, que rompió la tradición artística predominante y se inspiró en el Movimiento Constructivista, el Movimiento Surrealista y el arte precolombino. A medida que Cifuentes desarrollaba su propio vocabulario visual, los matices humorísticos se hicieron evidentes en su arte. Cifuentes respondió a conflictos internos y otras miserias que se apoderaron de Ecuador con humor. Al ver las cosas desde un ángulo diferente, Cifuentes agregó nuevas capas a las realidades a menudo difíciles. En 1983, Cifuentes ganó el Premio Casa de las Américas. Murio en Quito, Ecuador, en el año 2000

Franco Pinna

Franco Pimna was an Italian photographer of the second half of the 20th century and one of the main representatives of neorealism. He developed his work in black and white.

He was born in La Maddalena, on July 29, 1925. In 1952 he moved to Rome and, after a brief experience as a cinedocumentary operator, constituted the cooperative Fotografi Associati together with Plinio De Martiis, Caio Mario Garrubba, Nicola Sansone, Pablo Volta, which was dissolved in 1954 due to economic difficulties. He followed the anthropologist Ernesto De Martino during several research expeditions in southern Italy, obtaining documents of great artistic and cultural value. In 1959 he published his first book, entitled La Sila, which was followed by Sardegna una civiltà di pietra . Meanwhile, his photos appear in the magazines Life, Stern, Sunday Times, Vogue, Paris Match, Epoca, L’espresso, Panorama. From 1965 Pinna became the trusted photographer of Federico Fellini and made scene photos of his films Giulietta degli spiriti, up to Fellini’s Casanova in 1976; he also publishes some photo books inspired by his films. He died suddenly in Rome on April 2, 1978.

Souveraines, Pierre de Vallombreuse

In some traditional societies, women have always assumed dominant social and spiritual roles. Equality, mutual respect between the sexes, freedom granted to all. In these peoples, women are recognized in their singularities and skills. Here are four peoples from Southeast Asia where female lineages play a decisive role in family and social organization.

In the Khasis, a matrilineal and matrilocal society in North-East India, children are given the name of their mother at birth, and the youngest of the siblings inherits all the land and family property.
In Palawan families in the Philippines, men and women live in perfect equality, placing particular importance on the values ​​of goodwill, generosity and mutual aid.

In the south-west of China, the condition of the woman is unique among the Mosos, a people who practice all forms of matriarchy to the extent that the education of children is here entrusted to maternal uncles.
Finally Badjaos in Malaysia, abolish any form of hierarchy and advocate an egalitarian and libertarian civilization, which gives pride to women.

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David Goldblatt


David Goldblatt (born 29 November 1930) is a South African photographer noted for his portrayal of South Africa during the period of apartheid and more recently that country’s landscapes. He has described himself as a “self-appointed observer and critic of the society into which I was born.” He has numerous publications to his name and is held in high esteem, both locally and internationally. He lives in Johannesburg.

Anton Bruehl

 

 

 

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Anton Bruehl studied engineering at the Christian Brothers School in Melbourne before emigrating to the United States in 1919 to accept a job with Western Electric. An exhibition of photographs at the Clarence H. White School in New York inspired him to give up engineering for photography. He enrolled in White’s school in 1924-25, and soon became a teaching assistant for White in New York and Canaan, Connecticut. After Vogue published his photographs in 1926, Bruehl dedicated himself to freelance commercial photography by establishing a New York studio, which was active from 1927 through 1966. His photographs appeared in Vogue, Vanity Fair, and other prominent publications, and his work was shown in major international exhibitions, such as Film und Foto at the Deutscher Werkbund in Stuttgart (1929) and Photography 1839-1937 at the Museum of Modern Art. His best-known body of work produced outside the studio was published as Mexico (1933), a book of black-and-white photographs of life and people in Mexican towns.

Bruehl is noted for the color photography he produced in the 1930s for Condé Nast, which at that time had a virtual monopoly on the color printing process. Fernand Bourges, a color technician at Condé Nast Engravers, developed a four-color separation transparency process in 1932 that allowed the company to print color images in its publications on a regular basis. This collaboration–Bruehl’s color photographs, Bourges’s color transparencies, Condé Nast’s printing–accounted for the majority of color images that appeared in print in the mid-1930s. Besides his innovative color photography, Bruehl was recognized for his stylish advertising still lifes, and for the celebrity portraiture and fashion photography he did for Vogue during the 1930s.

Andrés Serrano

 

I’ve never called myself a photographer. I studied painting and sculpture and see myself as an artist with a camera. I learned everything I know about art from Marcel Duchamp who taught me that anything, including a photograph, could be a work of art. –Andres Serrano

Xyza Bacani

Xyza Bacani is a Filipina Street and Documentary Photographer who has been featured in New York Times Lens Blog, CNN and various International media publication not only for her excellence in photography but also for her inspirational story. Working as a domestic worker for almost a decade, she used photography to tell the stories of her fellow domestic workers and others who were victims of human rights violation. She is one of the Magnum Foundation Human Rights Fellows 2015, exhibited in South East Asia, won awards in photography and she was granted HR No. 1969 by the Philippines House of Representative and one of the BBC 100 Women of the World 2015.

Raymond Voinquel

The fashion photography of Raymond Voinquel is little known compared to his work as the finest still-photographer and portraitist to the stars of a golden age of French cinema. For over 40 years, he collaborated with the greatest directors in France: Marcel l’Herbier, Jean Cocteau, Abel Gance, Max Ophuls, Marcel Carné, and Sacha Guitry; the latter called on Voinquel for every one of his films.
It was at the beginning of Voinquel’s career, around 1935, that he first tried his hand at fashion photography, using it as a means for experimentation, drawing directly on his negatives, or being the first photographer in France to take his models out of the studio and into the streets. He went back and forth between his work in fashion and cinema, his goal always being to transform the given into dream-like images. And even though cinema and fashion may seem very close, a photographer split between these two worlds is a rarity. It didn’t take long for Voinquel to abandon fashion and dedicate himself entirely to his first love: the cinema. He threw himself completely into projects as soon as they were thought of by writers or directors, and was at times responsible for the meetings between them and the stars; he was thus the catalyst for the advent of certain films. Had he desired, he could have gone much further in fashion, imposing his talent and his ideas so modern for the time, but he was undoubtedly not stimulated enough by the prospects of the milieu, too often worried about preserving a conventional image, with room for innovation allowed only to the couturiers.
His obsession with the cinema permeates all his work; his landscapes at night look like sets in a studio and his train stations might be confused with film stills. It is artifice, the seemingly real which fascinates Voinquel.

Matteo Carta

Born in Sardinia 33 years ago. I have been living in China since 2009 and at the moment I live in Kunming, Yunnan. Travel and Nikon enthusiast

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Antanas Sutkus

Documentary photographer, founder and chair of the Union of Lithuanian Art Photographers. His main theme is the people of his country, but his most known photograph is a portrait of Jean-Paul Sartre. In recent years he works with his archives most of his time, choosing photographs that were impossible to print in the Soviet Union.

Manuel Carrillo

 

Manuel Carrillo nació en la Ciudad de México en 1906. A la edad de 16 años, en 1922, Carrillo fue de México a Nueva York donde realizó varios trabajos antes de convertirse en campeon de vals y tango con Arthur Murray. Durante este período, en Nueva York, se puso a trabajar para la firma de Wall Street Neuss Hesslein, pero en 1930 regresó a su pais. Allí comenzó a trabajar para uno de los pioneros de la industria turística mexicana Albert L. Bravo. Carrillo luego abandonó esa posición para convertirse en el agente general de la oficina del Ferrocarril Central de Illinois en la ciudad de México, donde permaneció durante treinta y seis años, hasta su retiro. A la edad de 49 años, se unió al Club Fotográfico de México y la Sociedad Fotográfica de América. Su primera exposición internacional, titulada, Mi Pueblo, se llevó a cabo en 1960 en la Biblioteca Pública de Chicago y representa la vida cotidiana en el México rural. Desde 1975, el trabajo de Carrillo se ha visto en 209 exposiciones individuales y 27 exposiciones grupales en México, los Estados Unidos, y en todo el mundo. En 1980, la Sociedad Fotográfica de América nombro a Carrillo Ciudadano de Honor de El Paso, Texas, donde su archivo fotográfico esta en la Biblioteca Pública de El Paso. Su trabajo ha sido publicado en una variedad de antologías fotográficas y revistas. Carrillo murió en la Ciudad de México en 1989 a la edad de 83 años

Alen MacWeeney

Born in Dublin, Alen MacWeeney began his career in Paris at twenty, as Richard Avedon’s assistant. His work has appeared in numerous magazines, including The New Yorker, LIFE, House & Garden, Vogue, Travel + Leisure, Esquire, Harper’s Bazaar, Smithsonian, The New York Times Magazine, GEO, Aperture, PEN, Camera International, and American Photographer.

His photographs are in the permanent collections at the Museum of Modern Art, the Metropolitan Museum of Art, the George Eastman House, the Philadelphia Museum of Art, the Art Institute of Chicago, and others.

His books demonstrate artistry with interiors (Charleston: a Bloomsbury House and Garden; The Home of the Surrealists), countrysides (Stone Walls & Fabled Landscapes), portraits (Irish Travellers: Tinkers No More; Bloomsbury Reflections), and inner lives (Spaces for Silence).

MacWeeney’s work is distinguished by the painterly way he unveils the character of his subject through a wide range of emotion, from humor to drama. His portraiture is direct and apparently simple, his compositional touch and use of light complex. The camera never gets in the way, allowing a rare calm, a thoughtful repose, to enter each picture.

In 2001 MacWeeney directed a feature-length documentary, Traveller, which was broadcast on RTE and BBC-TV.

He is the exclusive photographer for custom publisher Hammond Editions.

Leonardo Cantero

Nació en Bilbao en 1907 en el seno de una familia de clase acomodada. Realizó estudios de arquitectura en Madrid, aunque pronto estuvo interesado por la fotografía.

En 1950 entra como miembro en la Real Sociedad Fotográfica de Madrid participando activamente. Cuando en 1956 la Agrupación fotográfica almeriense (AFAL) crea una revista pionera en España en ese momento participa en ella de un modo activo. En 1957 es miembro fundador del grupo La Palangana junto con los fotógrafos Gabriel Cualladó, Francisco Ontañón, Joaquín Rubio Camín, Paco Gómez y Ramón Masats lo que facilitó que se formase una corriente innovadora en el seno de la RSF llamada Escuela de Madrid.1​ Este movimiento supuso un cambio de rumbo en la fotografía madrileña que estaba muy penetrada por el pictorialismo y la fotografía de salón.2​

El trabajo que realiza entre 1940 y 1960 que es principalmente un reportaje humanista lo basa en gran medida en las fotos tomadas en su finca familiar llamada La Dehesa de Hoyos en Sotillo de la Adrada (Ávila). Participa en numerosos concursos fotográficos obteniendo diversos premios: Luis Navarro (1960), Premio del Ministerio de Agricultura (1964 y 1966), Premio de Sociedades en el Sonimag (1965), etc. También participa en numerosas exposiciones colectivas como la Exposición Internacional Zoológica de Amberes (1952), el Salón Internacional de Tarrasa (1963), etc. También realizó trabajos documentales sobre las abejas y los mántidos, así en 1961 hizo una serie de diapositivas en color sobre el mimetismo de los insectos que presentó en la III Bienal Internacional de París.

Burk Uzzle

Like the best observers of this country, Uzzle displays an intuitive sensitivity to our national incongruities and harmonies. His subjects are classic Americana: beaches and parades, small towns and highways, a mix of the impossibly vast and the deeply local that gets at the heart of life here. Uzzle’s perspective combines the best qualities of those who’ve undertaken similar enterprises — the wit of Garry Winogrand, and the stylistic approach of New Topographics photographers like Robert Adams — while maintaining a certain Uzzle-ness that makes him entirely original.

Jordan G. Teicher

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Happy holidays!

Afghan, Zoran Marinovic

A long, dusty avenue takes you from the airport to the center of Kabul, the capital of Afghanistan. Although the road was renovated by the international community only a couple of months ago, our vehicle manages to hit a hole every couple of minutes. There are many holes on this half hour drive. The shield of the transporter vehicles bleeps on each site where a car-bomb exploded, and there lies the unmarked grave of a suicide bomber. Surprise attacks, numerous casualties, disbelief and fear, are the only signposts on this tiresome avenue today. When peace becomes reality and then vanishes. Where does God come to cry?

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Dina Oganova

Sakartvelo is my home country and I‘m very happy and proud that I was born and raised up here.

It’s a very small but country with a big heart.

Population is around 4 millions people, which 1/3 prefer to live in capital – Tbilisi.

Located at the crossroads of Western Asia and Eastern Europe.

It is bounded to the west by the Black Sea ,to the north by Russia ,to the south by Turkey and Armenia and to the southeast by Azerbaijan.

Georgia is one of the 15 republics of the formerly USSR.

After break up the Soviet Union (1991) it became independent.

There are a lot of refugees because of the civil war(1992) and war with Russia(2008)

We lost our paradise parts of country ( Abkhazia and South Ossetia)..

Since the war, breakaway regions are under Russian occupation, but legally they are still part of Georgia.

Russia recognized Abkhazia and South Ossetia as independent countries.

People in Georgia are very traditional.

We have a lots of tradition holidays, especially religious holidays in different part of Georgia.

About 80% of the population are Orthodox .

Georgia is something special for me and it’s always hard to explain with words .

It’s a biggest love, pain and happiness at the same time, fresh air and new sounds, real people with real stories around, friends and family album ,red wine, mountains and waves, beautiful dance and smell of the past ,magic …It’s a dreamland.

I Am Georgia” is my life project .

My life in color, Raquel Chicheri

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