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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Eve Arnold

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Eve Arnold was born in Philadelphia, Pennsylvania to Russian immigrant parents. She began photographing in 1946, while working at a photo-finishing plant in New York City, and then studied photography in 1948 with Alexei Brodovitch at the New School for Social Research in New York.

Arnold first became associated with Magnum Photos in 1951, and became a full member in 1957. She was based in the US during the 1950s but went to England in 1962 to put her son through school; except for a six-year interval when she worked in the US and China, she lived in the UK for the rest of her life.

Her time in China led to her first major solo exhibition at the Brooklyn Museum in 1980, where she showed the resulting images. In the same year, she received the National Book Award for In China and the Lifetime Achievement Award from the American Society of Magazine Photographers.

In later years she received many other honours and awards. In 1995 she was made fellow of the Royal Photographic Society and elected Master Photographer – the world’s most prestigious photographic honour – by New York’s International Center of Photography. In 1996 she received the Kraszna-Krausz Book Award for In Retrospect, and the following year she was granted honorary degrees by the University of St Andrews, Staffordshire University, and the American International University in London; she was also appointed to the advisory committee of the National Museum of Photography, Film & Television in Bradford, UK. She has had twelve books published.

Eve passed away in January of 2012.

Edgard Garrido

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The assignments that I like best are the intimate ones, the ones that touch your emotions and reveal people’s humanity.

Stanko Abadžić

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One of the great ironies of globalization is that as people become more connected to technology – email,cell phones, Ipods – they often become less connected to one another.

This growing rift in the social fabric has been duly noted by Croatia’s Stanko Abadzic, whose deeply humanistic photographs resonate with wistful regard for a time when people were in tune with each other spiritually and emotionally rather than electronically. This accounts for the seemingly “old fashioned” aestetic of his images, many of which, with their geometric composition, sensual atmosphere and telling detail, look as if they could have been made in the 1940s or earlier.

The slightly surreal “Legs Opatija” for example, which playfully skirts the border between reality and fantasy, would not look out of place among the work of the pioneering French photojournalists Abadzic admires. A shared affinity for the likes of Andre Kertesz and Willy Ronis notwithstanding, Abadzic’s photographs convey a very contemporary message.

The faster we live, the less emotion is left in the world. The slower we live, the deeper we feel the world around us, ” he says. “I am not against globalization in general, but I am against the physical and spiritual uniformity of cities and towns dominates by multinational corporations. Globalization turns us into passive consumers. It is not interested in our creativity or our individuality. We lose our happiness when we lose our sense of identity.”

Having been compelled to change countries several times during his life while striving to preserve his spiritual identity helps explain the sense of connection Abadzic celebrates in photographs like “A Circle”. Taken during a troubled transitional period in Berlin, the image elegantly evokes a spirit of closeness and cooperation. Yet the modernist juxtaposition of shadow and light – Abadzic’s trademark – balances the mood and prevents the image from tipping over into sentimentality.

Abadzic was born in Vukovar, Croatia in 1952. His father, recognizing Stanko’s suspectibility to the old world charm of this city on the Danube, presented him with a Russian camera on his 15th birthday. Abadzic taught himself the technical basics while refining his vision by attending exhibitions, studying photography books and watching television and films. He joined a photo club, exhibited his early work, and earned money taking pictures of weddins and soccer clubs. Abadzic subsequently joined the staff of the newspaper Vjesnik as a photojournalist, married and started a family. This trnquil existence, however, wa brutally interrupted by the outbreak of Croatia’s war of independence in 1991.

” I moved my family to Germany thinking things would soon settle down and that we could move back to Vukovar, but it did not happen,” Abadzic recalls. “It was a very difficult period. We did not have any means; we left everything in Vukovar and ran for our lives. I accepted any job I could find: shipping agent, waiter, teacher. The hardest thing was going to the immigration police every three months to extend our visas. Our motto was: think of today, only now exists. After four years we had to leave; they did not want us to get any nearer to the five years required for German citizenship. Because of all that preassure I was rarely able to take photographs.”

The dark years of physical and creative displacement ended when Abadzic moved to Prague on a sunny August day in 1995. The warmth of the sun symbolized for Abadzic the city’s positive energy. Feeling a sense of rebirth, he began exploring Prague with his medium-format camera, leaving behind the photojournalist and discovering the artist within.

“I slowly peeked behind the curtain, entered old backyars overgrown with Ivy where time had stopped, “he says. “I met people who remained original and authentic, people in ni hurry, people who refused to take part in the extremes of globalization. The more I unveiled Prague, the more I began to experience photography as an art form. The sensation was intense, like a volcanic eruption.

The enigmatic beauty of Prague’s ancient streets and cul-de-sacs also helped deepen t he sense of misterioso that inhabits so many of Abadzic’s images. The furtive pose and voyeuristic overtones of “Curiosity, Prague” transforms a commonplace scene into a Cocteau-like meditation on unconscious urges. The surface objectivity of “A Day When Everything Goes Wrong”is undermined by the visual tension created by the spilled fruit, upended bike and slashing angels of sunlight and shadow. Abadzic’s head, heart and spirit had achieved perfect alignment through his photography.

Abadzic moved back to his homeland in 2002, settling in the capital city of Zagreb, but retained his Czech residence permit and returns periodically to Prague. He also photographs extensively on the Croatian island of Krk, site of images such as “Brothers, Baska,” which eloquently reference our shared humanity. Abadzic continues to create work that registers a positive outlook despite the difficulties of his past and increasing cynicsm currently in fashion.

“The mass media bombard us with images of blood and tears, ” he states.” It’s high time we showed interest in beauty and aesthetics, not just in wars and catastrophes. I still believe photography can touch people emotionaly. I believe a photograph can be a testimony and a document of its time, and that it can inspire us to talk to each other and make a better world.”

Sarah Small

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Sarah was born in 1979 into a family of musicians, writers, and psychoanalysts. She spent her young childhood concocting gibberish sounds and songs around the house, dancing, and playing cello. She became enraptured by photography when she was thirteen. Small spent her high school years photographing her close friends and her younger red-headed sister, Rachel, wandering the streets of her hometown, Washington DC, equipped with her Pentax K1000.

After graduating from the Rhode Island School of Design in 2001, Small moved to Williamsburg, Brooklyn, where she currently resides. Small spent the first ten years in NY working as a photographer, with music as a side-lined hobby. In 2011, Small started creating Tableau Vivant performances, based on her acclaimed photography series, The Delirium Constructions. Shortly afterwards, her interest in photography receded and her explorations in music composition and performance came to the forefront. Small is currently enrolled in classes at Juilliard.

Small currently sings and composes vocal scores with her two a cappella trios, Black Sea Hotel and Hydra, as well as for an electronic / vocal project, Jessica Brainstorm. She is currently writing an opera (her second Tableau) for choir, strings, and electronics for a projected premiere in 2018. Most recently, she has written works that have been recorded with Yo-Yo Ma and performed by Kronos Quartet, BSH, and Brooklyn Youth Chorus. Black Sea Hotel has appeared on NPR, PRI, The New York Times, as well as topping charts on iTunes International.

Small’s photography and performances have been featured in Vogue, LIFE, The Washington Post, Rolling Stone, The New York Times, and The New Yorker, and have been shown in galleries throughout the United States, China, Taiwan, Korea, Madrid, Hungary, Germany, France, Italy, Great Britain, Australia, and the Netherlands.

Most recently, Small has appeared as lead actress in Josephine Decker’s psychological thriller, “Butter on the Latch,” wherein Small was described as “a revelation (noted to have) the best screen performance at Berlinale 2014” (Chris O’Neil, Experimental Conversations). The narrative feature landed on The New Yorker’s Top Ten Films of 2014, quoted by Richard Brody as being “a bold, unsettling film… (with) teeming, rolling energy (and) marvels of image and imagination.” Sarah has roles in three upcoming features currently in production.

George Harris and Martha Ewing

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Intimité, Jack Montgomery

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