Mario Giacomelli

Giacomelli was a self-taught photographer. At 13, he left high school, began working as a typesetter and spent his weekends painting. After the horrors of World War II, he turned to the more immediate medium of photography. He wandered the streets and fields of post-war Italy, inspired by the gritty Neo-Realist films of Vittorio De Sica and Roberto Rossellini, and influenced by the renewed Italian photographer Giuseppe Cavalli, and developed a style characterized by bold, stylized compositions and stark contrasts.

With the death of Mario Giacomelli (1925-2000) Europe lost one of its most talented photographers. Trained initially as a typographer, his early interest in graphic effect became a key part of his later photographic work. Winner of numerous medals and prizes, he acheived international status through numerous exhibitions throughout Europe, America and Japan. His highly personal, artistically atmospheric visual style demonstrates a life-long preoccupation with landscapes that emphasize linear, abstact patterns, rural townscapes, streetscenes and portraits of everyday Italian life. His work displays a profound understanding of the country and its people and a mastery of form and effect that make his photographs imaginatve works in their own right

Amanda Demme

My path has led me from one creative passion to the next, always immersing myself deeper into my work, constantly learning, creating, and developing my skill set. Born and raised in Washington DC, I attended college at Boston University. I have always had a passion for creativity. Initially, this manifested as becoming a connector and curator. In the late 80s and early 90s in NYC, I immersed myself in the emerging hip hop scene, working at Sleeping Bag Records and New Music Seminar and working the door at The World, a staple for artists like Madonna, David Bowie, and Keith Haring. I created a club venue called Carwash in an abandoned school, bringing hip hop culture from the Bronx to the Lower East Side, hosting rap battles with legendary artists like KRS-One and Busta Rhymes’ original group, Leaders of the New School.
In 1993 I moved to Los Angeles and founded Buzztone Management where I signed hip-hop artists like Cypress Hill and House of Pain. I then founded Immortal Records where our roster expanded into rock, supporting releases by Korn and Incubus. Subsequently, I realized I had a desire to express my artistic perspective more fully and personally. My evolution from music back to the visual world began, but the role I could eventually play was still nascent. I parlayed my experience in the record label and management realm into music supervision for film and television, where I married music with filmic moments, creating the soundtracks for over 50 projects including Garden State, Blow, Freaks and Geeks, Judgement Night, Erin Brockovich and Slackers.
Out of the blue my husband, filmmaker Ted Demme, suddenly passed away. Losing my husband, the father of my children, and my creative collaborator shifted everything. After this, I did two things that I’d always wanted to do. First, I put my college degree to use, developing spaces and promoting events and started Supermarket Media, an event marketing company with Brent Bolthouse. I curated and programmed events for brands including Vogue, Prada and Yves Saint Laurent, as well as festivals including Coachella. Hailing back to my roots, I branded, designed, launched, curated and operated nightclubs Tropicana and Teddy’s at the Roosevelt Hollywood. Additionally, I created the H. Wood brand and developed the first club (in that portfolio, which now extends across the US) with partners, challenging club expectations by mixing in unique fine art and retail experiences. I also began interior design for celebrity homes. The other thing I did was pick up a camera. Framing, lighting, storytelling are all part of developing and activating spaces, but it would be 10 years before I embraced photography as the central piece of my creative practice.
By 2010 I had burned out of the continuous late nights. The camera was my solace. I dove in headfirst and began my practice as an artist. In May 2013 I debuted my first solo show in Venice which LA Times called “emotional and dark, even cinematic.” I was enthralled. Addicted, is what others might call it, but that tenacity opened doors and in the last five years I’ve been able to shoot iconic actors, creatives, activists, and politicians, and my work has been published in dozens of well-respected publications. A personal highlight, although incredibly difficult, was a project for NY Mag where I shot 35 of Bill Cosby’s alleged rape victims. Recently, photography has morphed into creative direction opportunities. As traditional photography clients need more content across multiple mediums I have found myself challenged to develop 360° campaigns, from messaging and aesthetics to imagery and film.

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Gabi Ben-Avraham.

My name is Gabi (Gavriel) Ben-Avraham. I am 59 years old, and married with three children. I work in a software company and live in a quiet neighborhood of Tel Aviv, the city which I grew up in, have never left and is a part of me and my hobby – photography. I enjoy cinema and music, and during the 1980’s photographed using film cameras. I then did not touch a camera for 20 years until I received a digital camera as a gift for my birthday from my wife a few years ago. The rest is history….

Rondal Partridge

Rondal and his twin, Padraic, were born in 1917 to the photographer Imogen Cunningham and etcher Roi Partridge. Ron began helping his mother in her darkroom at the age of five, standing on an apple box to watch her prints come to life in the developing bath. Soon he was processing his own sun prints alongside her. The San Francisco Bay Area photographic community was small and close-knit in the years Ron was growing up. Photographers swapped stories and cameras, and shared techniques and darkrooms. Family friends Ansel Adams, Edward Weston, Dorothea Lange, and many others were part of Ron’s daily life.

Michael Wolgensinger

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Alex Majoli

At the age of 15, Alex Majoli joined the F45 Studio in Ravenna, working alongside Daniele Casadio. While studying at the Art Institute in Ravenna, he joined Grazia Neri Agency and traveled to Yugoslavia to document the conflict. He returned many times over the next few years, covering all major events in Kosovo and Albania.

Majoli graduated from art school in 1991. Three years later, he made an intimate portrayal of the closing of an asylum for the insane on the island of Leros, Greece, a project that became the subject of his first book, Leros.

In 1995 Majoli went to South America for several months, photographing a variety of subjects for his ongoing personal project, Requiem in Samba. He started the project Hotel Marinum in 1998, on life in harbour cities around the world, the final goal of which was to perform a theatrical multimedia show. That same year he began making a series of short films and documentaries.

After becoming a full member of Magnum Photos in 2001, Majoli covered the fall of the Taliban regime in Afghanistan, and two years later the invasion of Iraq. He continues to document various conflicts worldwide for Newsweek, The New York Times Magazine, Granta and National Geographic.

Majoli, in collaboration with Thomas Dworzak, Paolo Pellegrin, and Ilkka Uimonen, had an extremely successful exhibition and installation Off Broadway in New York in 2004, which travelled to France and Germany. He then became involved in a project for the French Ministry of Culture entitled BPS, or Bio-Position System, about the social transformation of the city of Marseilles. His project, Libera Me, is a reflection on the human condition

Raúl Cañibano Ercilla

Mi nombre es Raúl Cañibano Ercilla. Nací en la ciudad de La Habana un 10 de agosto de 1961. Mi infancia transcurrió entre el campo y la ciudad ya que desde pequeño residí junto a mi familia materna en la provincia de Cienfuegos primero y luego en el central azucarero Argelia Libre en la provincia de las Tunas. Años más tarde me gradué, en la capital del país, como técnico en soldadura comenzando a laborar como soldador en la aviación civil hasta el año 1988.

En el año 1989 comencé a sentir curiosidad por el mundo de la fotografía por lo que decidí aprenderla de forma autodidacta. En esos años no existían en el país escuelas ni talleres en donde estudiarla, de manera que me propuse asimilarla aprendiendo las artes universales para lo cual comencé a frecuentar la Biblioteca Nacional de Cuba a fin de informarme teóricamente sobre historia del arte, composición y las técnicas de revelado e impresión. Paralelamente laboraba en un estudio fotográfico de nombre “Caracas” donde me desempaña como laboratorista. Alternaba así la teoría de la literatura con la práctica diaria de un estudio fotográfico, e incursionando en mis primeras fotografías artísticas. En el año 1990 iniciaba el llamado “periodo especial” en Cuba, tras el derrumbe del campo socialista en Europa, lo que limitó el comercio con esos países, provocando la ausencia de materia fotográfico, entre otras escaseces y por tanto parte de los films que usaba en esta época era material vencido, lo que conllevó a que perdiera muchas de las primeras fotografías importantes realizadas.

Ginette Riquelme

Ginnette is a Chilean independant photographer based in Mexico city, Mexico. After graduating with a Photojournalism degree, she began photographing for several Santiago based newspapers. Since that time she has aslo worked as a photojournalist for the Associated Press (AP) in Honduras, Central America; as a Photo Editor for the French magazine Psychologies in Mexico, and as a photojournalist for Xinhua in Madrid, Spain.
In 2009-2010 she participated in a photographic digitization project for the Santa Maria La Real Foundation in Spain, where interest has developed in this area. In 2013, collaborated with the Pedro Meyer Foundation in Mexico. Also, she worked for the Historic Archive of National Museum of Anthropology, in Mexico city.

Jake Borden

Jacob Borden ( 1993) is an American photographer based in the Hills of Western Massachusetts. Raised on an organic sheep farm in upstate New York, his work in the medium began after discovering world renowned photographer John Stanmeyer lived near by. In 2014 he began an apprenticeship with the photographer, managing his extensive archive and assisting with the production of multiple National Geographic projects both at home and abroad.
Since 2017, he has been working on a series of personal projects in the United States and internationally, focusing on the longterm effects of conflict. The series “In Ruins”, chronicling the lives of IDPs living in the Republic of Georgia, won first place in the 2017 Tbilisi photo festival and was a finalist for the 2019 Burn Emerging Photographer award, and was published by the BBC and Vice News.
In 2018, he moved to Beirut,Lebanon with generous support from the Alice B. Henriquez Memorial Fund to continue a series of work chronicling refugees from the Syrian conflict living in Lebanon’s Bekaa Valley while studying anthropology and Arabic at the American University of Beirut. During that time he received mentorship from some of the leading names in the industry through the 2019 VII Masterclass in Poland and the Eddie Adams Workshop, one of the world’s most prestigious photography seminars.

Lu Nan

 

Lu Nan is given the name “the most legendary photographer in China”. His legend comes from his unique characteristic and his mysterious creative experience. During fifteen years’ of his photography career, Lu has been a preacher of imagery. For many people in the Chinese photography world, he seems to be even more famous in the “art” circle. One of his early pieces Add One Meter to a Nameless Hill has become one of the classic images in the Chinese contemporary art history. Lu is the first Chinese photographer who’s recognized by the well-known Magnum Photos. He is also the only Chinese photographer that had been featured in the APERTURE magazine. Lu is constantly invited to participate in numerous exhibitions; however, he is extremely selective about the exhibitions he is involved with. Lu also refused to have his portrait taken by others, so it’s very rare to see any photo documentations of him. For fifteen years, Lu has been leading a life that’s almost like a monk, spending his time working and studying. Lu believes in that “good stuff comes out of reticence.”

Michel Vanden Eeckhoudt

Coming from a tradition of reportage linked intimately with the press, he began his personal work with ensembles devoted to the “Concours belges” and immigrants to his country. Since he began looking through his Leica’s viewfinder, he has created pure and elegant photographs marked by a constant sense of humour. This balance has allowed him to adopt a fair and playful distance from what is going on before his eyes. His resulting compositions are arranged with a steady eye while managing to transform real life moments into often mysterious images without reverting to the anecdotal.
Although he often provokes a smile, this initial reaction turns instantly to a series of questions on the nature of what he is showing us. His effective use of reflections is especially troubling in this regard. In this sense – or the absence of sense – he acknowledges the attitudes or situations of his subjects.
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Johan van der Keuken

Johan van der Keuken was a Dutch documentary filmmaker, author, and photographer. In a career that spanned 42 years, Van der Keuken produced 55 documentary films, six of which won eight awards. He also wrote nine books on photography and films, his field of interest. For all his efforts, he received seven awards for his life work, and one other for photography.

Eugene Trutat

Eugène Trutat (25 August 1840 – 6 August 1910) was a French naturalist, mountaineer, pyreneist, geologist and photographer, who was curator of the Museum of Toulouse.
He began taking photographs in 1859, and produced almost 15,000 over the course of the next fifty years, covering a wide range of topics.

Lisette Model

Lisette Model began her creative life as a student of music. Through avant-garde composer Arnold Schönberg, with whom she studied piano, she became exposed to the Expressionist painters of early twentieth-century Vienna. She never formally studied photography but took it up in the 1930s while living in Paris. An early piece of advice received from a colleague–“Never photograph anything you are not passionately interested in”–became her motto.
Model’s images can be categorized as “street photography,” a style which developed after the invention of the hand-held camera, which made quick, candid shots possible. Through her own complicated personal history, she found intensely empathetic connections with her disparate subjects.
Model eventually settled in New York, where she met with quick success as a commercial photographer for Harper’s Bazaar magazine and as an artist with her work exhibited at the Museum of Modern Art. For thirty years she taught photography in New York, where she instructed and befriended Diane Arbus.

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.

Alberto Korda

Alberto Díaz Gutiérrez, más conocido como Alberto Korda (14 de septiembre de 1928 – 25 de mayo de 2001) fue un fotógrafo cubano. Es célebre por la famosa fotografía tomada al Che Guevara mirando el cortejo fúnebre de los muertos en el atentado terrorista al barco La Coubre, el 5 de marzo de 1960. En la década de 1940 cursó clases comerciales en el Candler College y en la Habana Business Academy, los dos situados en La Habana. Junto a Luis Pierce (Luis Korda) fundó los estudios Korda, donde trabajó entre 1953 y 1968, en los que realizaban toda especie de trabajos comerciales. Aunque su formación es autodidacta aprendió fotografía en un inicio con Newton Estapé y después con Luis Pierce. Con el triunfo de la Revolución Cubana en 1959, trabajó para la Revolución y acompañó a Fidel Castro como fotógrafo en distintos recorridos que el líder cubano realizaba en esos años. 1960 fue el año que cambiaría su vida, ya que fue durante este año cuando realizó la famosa fotografía El Guerrillero Heroico, la cual a consideración de grandes críticos es uno de los mejores retratos fotográficos y constituye la imagen más reproducida de la historia de la fotografía. Sin embargo parte de su grandeza se ha visto oscurecida a causa de que muchas de las fotos que se le adjudican podrían no haber sido hechas por el propio Korda sino que las habría comprado a otros fotógrafos contemporáneos suyos.
Fue fundador de la fotografía submarina en Cuba. En 1968 se dedicó a la misma en el Instituto de Oceanología de la Academia de Ciencias realizando el Atlas de Corales Cubanos. Su obra fotográfica se ha expuesto en las principales galerías del continente europeo y en América, así como en otras partes del mundo. Entre sus presentaciones personales están en 1962, Helsinki, Finlandia; 1985, Gallería H. Diafragma Canon, Milán, Italia; 1986, Galería Servando Cabrera, La Habana; 1988, “Festa de L’Unita”, Rosignano, Italia; Centro Cultural de Buenos Aires, Buenos Aires, Argentina; 1989, Maison de la Culture de la Seine Saint Denis, París, Francia; 1990, Galerie du Jour Agnés B, París, Francia; y en Kulturhuset Slurpen, Oslo, Noruega; 1991, 4.ª. Bienal de Fotografía de Córdoba Alcázar de los Reyes Cristianos, Córdoba, España; 1995, Museo Ken Damy de Fotografía Contemporánea, Brescia, Italia; 2000, Roy Boyd Gallery, Chicago, Illinois, EE.UU. y ademas muchas exposiciones colectivas. Entre los premios obtenidos están en 1959, Premio Palma de Plata. Mejor Fotorreportero del Año. Periódico Revolución, La Habana; 1960-1963; 1979 Tercer Premio. 5.º Premio Internacional de Fotografía Submarina “Maurizio Sana”, Italia; 1982, Distinción por la Cultura Nacional. Consejo de Estado, República de Cuba; 1994, Orden Félix Varela de Primer Grado, Consejo de Estado, República de Cuba. Sus principales obras se encuentran expuestas en Casa de las Américas, La Habana, Cuba, Center for Cuban Studies, Nueva York, EE.UU., Centro Studi e Archivio della Comunicazione, Universidad de Parma, Parma, Italia, Consejo Mexicano de Fotografía, México, D.F., México, Fototeca de Cuba, La Habana, Cuba, Galleria IF, Milán, Italia, Galleria Il Diafragma Kodak, Milán, Italia, Maison de la Culture de la Sein Saint Dennis, París, Francia, Museo Nacional de Bellas Artes, La Habana, Cuba, Museum of Art, Fort Lauderdale, Florida, Estados Unidos.
De 1968 a 1978 se concentró en la fotografía submarina, hasta que una exposición japonesa en 1978 estimuló el interés internacional en su trabajo. Apareció brevemente en una secuencia de la pelicula de Wim Wenders Buena Vista Social Club en 1999, aunque no fue nombrado. Korda sufrió un ataque cardíaco fatal en París en 2001 al presentar una exposición de su obra. Está enterrado en el Cementerio de Colón, de La Habana.

Vladimir Lagrange

Vladimir Lagrange was born in 1939 in Moscow. His interest in photography came from his parents: his father worked as a correspondent for the Pravda newspaper, and his mother was a photo editor. In 1959, he comes to work in the TASS photo chronicle as a student of a photojournalist, where he will spend four years, and then for a long time his professional life will be associated with the magazine Soviet Union.
Vladimir Lagrange is known as the “thaw photographer”, a time when the pictorial canon is changing: romantic young people come to replace courageous heroes in magazines and newspapers, and instead of hard work you could see walks around the city. Vladimir Lagrange was one of the first to understand what forms of expression a new generation is looking for. Vladimir Lagrange was one of the first to understand what forms of expression a new generation is looking for. He spoke to the youth with a new language, being himself a young professional, immersed in the life of the thaw.
In 1962, the exhibition “Our Youth” – one of the main events of the year for domestic reporters ─ opens Lagrange’s photo “Doves of Peace”, which the entire exhibition is built. In May 1962, the magazine “Soviet Photo” publishes this picture on a turn, and it will forever remain the “calling card” of the author. In May 1962, the magazine “Soviet Photo” publishes this picture on a turn, and it will forever remain the “calling card” of the author. The action in the frame takes place on Red Square, but Lagrange shifts accents from official symbols to human emotions, with the result that the whole system of perception works differently, even the Kremlin seems to be “unfrozen”.
In 1963, Lagrange began working in the magazine “Soviet Union” and will stay there for more than a quarter of a century. The magazine, which continued the work of the famous “USSR in construction”, largely created the myth of the USSR. Many doors opened in front of the journal’s correspondent, and Vladimir Lagrange drove the country up and down. In 1987, American publishers implement the large-scale project “One Day in the Life of the Soviet Union,” in which Vladimir Lagrange also participates as a guest author.
Vladimir Lagrange is one of the few authors who traveled abroad during the Soviet era. In 1964 he traveled to France. “I will not write here in detail about those impressions, attitudes, surprise that overwhelmed me,” said the photographer. He photographed a country which was unknown to him and an unusual everyday life, and after returning, overnight printed more than two hundred photographs, most of which were not published. In addition to France, the photographer traveled to Italy, Poland and Afghanistan, where he went to shoot already on the withdrawal of troops.
In 1991, the journal Soviet Union was closed. The era of the USSR has ended. Vladimir Lagrange first goes to Rodina magazine, and then to the Moscow bureau of the French agency Sipa Press and continues to shoot a social report. Despite the change in external circumstances, the photographer remains true to his profession.
The works of Vladimir Lagrange are presented in museums and private collections, his exhibitions were held both in Russia and abroad, and in 2002 the author was awarded the highest award of the professional guild of photographers and the Union of Journalists “Golden Eye of Russia”.

Sol Eide

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Arkady Shaikhet

Arkady Samoylovich Shaikhet was a prominent Soviet photojournalist and photographer. In the history of Soviet photography, Shaikhet is known for a type of journalistic photography called “artistic reportage,” and for photographs of industrialization in the 1920s and 1930s.
His first photographs were published in 1923 and in 1924 he joined the staff of the national magazine Ogonyok. His images were used for their covers from the magazine’s first issue. Shaikhet was one of the founders (together with journalist Mikhail Koltsov) of Soviet Photo in 1926. Starting in 1930 he contributed to USSR in Construction, another Soviet journal.
During the Second World War he created a series of images of the Battle of Stalingrad and later of liberation of Kiev, Ukraine.
The Sovfoto agency, which from 1932 distributed Soviet photography in the West, holds examples of his photojournalism.

Popi Efthimiadou

Busy with photography from an early age, largely self-taught.
I have exhibited my work in Thessaloniki, Athens and Amsterdam.
I photograph the beauty of daily life. I am also busy with abstract and minimalist photography.
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