The assignments that excite me the most are humanitarian pieces and stories related to people’s struggle for their citizenship and human rights against those who want to dominate them.
The assignments that excite me the most are humanitarian pieces and stories related to people’s struggle for their citizenship and human rights against those who want to dominate them.
My life, said Karlheinz Weinberger in a 2000 interview on the occasion of his first major exhibition at the Museum of Design Zurich, started Friday evenings and ended Monday mornings. During the week, he was employed as a warehouse manager at the Siemens factory in Oerlikon, where he worked from 1955 until his retirement in 1986. He lived his whole life in the same apartment building. He moved only once, after the death of his mother, and then only from the second to the fourth floor.
Only with the aid of his camera, which he focused on the unusual, was he able to break free from the day-to-day monotony. He even had “Fotograf für das Ungewöhnliche” [Photographer of the Unusual] printed on his business card.
He made his first foray into photography as a high school student, with a so-called “Fünfliber-Kamera,” a small Agfa box camera that cost five Francs.
His subject was always man and his body: He openly photographed the shirtless workingmen in Zürich and, later, Southern Europe. Many of these photographs of young men were published under the pseudonym Jim in the international homophile magazine “Der Kreis [The Circle].”
In 1958, Karlheinz Weinberger discovered the ultimate “unusuals” in the Halbstarken, a group of young people that opposed assimilation and rebelled against the mainstream. They wore jeans, called “Bluejeans” then in Switzerland, rare for the time, which they embellished with studs, giant belt buckles and patches. They idolized Elvis Presley and James Dean and the clique became their universe. The Halbstarken, litterally the half-strong, established Switzerland’s first underground youth culture.
Karlheinz Weinberger photographed the Halbstarken with a Rolleiflex 2.8. In his apartment on the Elisabethenstraße, the kids could meet and listen to loud music. This astounding series, made in the years 1958 and 1963, is a collection of extraordinary portraits of the rebel youth in a post-war Switzerland in full economic expansion.
When the Halbstark movement broke apart, some of kids became bikers and formed motorcycle clubs. Karlheinz Weinberger followed them to their camps; he was invited to take part in club nights, rocker weddings, and even funerals.
These dropouts also found a retreat in Karlheinz Weinberger’s apartment, a refuge where no police, girlfriends, or gang members followed. There they could drink and smoke in freedom.
He also entertained in his apartment, in often-weekly sessions, certain men who he photographed over the years. The resulting series of photographs recall extraordinary rituals. In borderline mystic rites, men pulled out and masturbated while Karlheinz Weinberger endlessly photographed them.
These series of thousands of slides and color negatives, produced from the time of his retirement until his death in 2006, are especially intense. These near ritualistic sessions have a spiritual power that portray the pleasure, suffering, and aging of the male physique.
Most publications and exhibitions of Karlheinz Weinberger have heretofore primarily focused on the Halbstarken and Bikers. Thanks to meticulous recent archival work by the Estate, previously unknown works are now going to find an audience. In particular, early works as well as a selection from his final intense creative phase will be presented publicly here for the first time.
The focus of this body of work is on the Middle East, on women and children especially. Lebanon in particular is interesting to me because of its key location between the West and the Arab world, witnessing a blend of Western and Arab cultures, of Christianity and Islam, of tradition and modernity all coexisting side by side.
The images shown here are a selection from four interrelated bodies of work: The Aftermath of War a photographic essay of life in Lebanon after the numerous wars the country has gone through, The Veil: Modesty, Fashion, Devotion or Statement studying the recent spread of the veil and its meanings among Muslim women in Lebanon, The Forgotten People representing life in the Palestinian refugee camps and The Arab Christians an often underrepresented and forgotten minority in the Arab World, but a minority with strong traditions and roots. These images do not have the intention of representing Lebanon as a country, a country with more facets than I can begin to describe, or to be political in any way, but to primarily focus on ordinary people going on with their daily lives in this complicated part of the world.
Throughout my work in Lebanon, be it after the war, in the refugee camps, in the suburbs of Beirut or in Southern Lebanon, I was welcome in people’s homes and I was humbled by people’s resilience, kindness and hospitality. As such, in these photos I focus mainly on the people who did not lose their humanity and their dignity despite what they have been and were still going through. I avoided the obvious images of grief and calamity, preferring to set my focus on the indomitable ability of the human spirit to continue with the minutiae of life – from the joyful to the mundane – even amid the most difficult of circumstance.
Pieter Hugo is a photographic artist living in Cape Town. Major museum solo exhibitions have taken place at The Hague Museum of Photography, Musée de l’Elysée in Lausanne, Ludwig Museum in Budapest, Fotografiska in Stockholm, MAXXI in Rome and the Institute of Modern Art Brisbane, among others. Hugo has participated in numerous group exhibitions at institutions including Tate Modern, the Folkwang Museum, Fundação Calouste Gulbenkian, and the São Paulo Bienal. His work is represented in prominent public and private collections, among them the Museum of Modern Art, V&A Museum, San Francisco Museum of Modern Art, Metropolitan Museum of Modern Art, J Paul Getty Museum, Walther Collection, Deutsche Börse Group, Folkwang Museum and Huis Marseille. Hugo received the Discovery Award at the Rencontres d’Arles Festival and the KLM Paul Huf Award in 2008, the Seydou Keita Award at the Rencontres de Bamako African Photography Biennial in 2011, and was shortlisted for the Deutsche Börse Photography Prize 2012.
Valerio Bispuri was born in Rome in 1971 and after graduating in Literature he decided to devote his attention to photography. Professional reporter since 2001 he collaborates with numerous Italian and international magazines, among which L’Espresso, Il Venerdì, Internazionale, Le Monde, Stern. He has carried out reportages in Africa, Asia, Middle East, but it is in Latin America that Valerio worked the longest and has lived in Buenos Aires for more than a decade.
He has worked on “Encerrados” for 10 years, a long term photographic project on the life conditions in 74 prisons across all the countries in the South American continent, describing with an anthropological and journalistic approach, the inmates’ reality. This work has been exhibited at Visa pour l’Image in Perpignan, at the Palazzo delle Esposizioni in Rome, at the University of Geneva, at the Browse Festival in Berlin and, in October 2014, at the Bronx Documentary Center of New York.
In November 2014 “Encerrados” became a book edited by Contrasto.
In 2015 Valerio finished another important photographic project that lasted for 8 years, denouncing the diffusion and the effects of a new low-cost drug called “Paco” that is killing an entire generation of youths in the suburbs of South American large cities. The work on “Paco” has been exhibited in Rome, Milan and Istanbul (catalogue published by International Green Cross).
Memories. Strangers. Constructed fairytales. The smell of foreign soil. A gust of wind blowing hair tangled across parted lips. Foolish choices and dirty, grazed knees. Uncontrollable laughter, tickling a poised face away. The deep breath before a dive. Explorations of light.
With a camera in one hand and a pen in the other, I capture and record little sparks of life and share them with others. There are so many different stories to tell…
I hope this website will take you on adventures and offer you a peek at the world through my eyes
Born 1988 in Beijing, Jingna lives and works in New York City.
A former rifle shooter, Jingna is a Commonwealth Games medalist and represented Singapore in numerous ISSF World Cups from 2002-2008. She was a student at Raffles Girl’s School and Lasalle College of the Arts until the age of 19, where she dropped out and self-published her first photobook, “Something Beautiful”.
In the years since, Jingna’s works have been featured on international editions of Vogue, Elle, and Harper’s Bazaar. Her solo exhibitions include galleries at The Arts House and Japan Creative Centre in Singapore, and group exhibits like “45 Frames from Photo Vogue” at Leica Gallery in Milan, and Clé de Peau Beauté’s 30th anniversary exhibition in Hong Kong.
Jingna was named Master Photographer of the Year by Master Photographers Association in 2007, Photographer of the Year at ELLE Awards Singapore in 2011, and was a recipient of the 7th Julia Margaret Cameron Award for Women Photographers in 2015. Her works are represented by Trunk Archive, world’s leading image licensing agency.
A self-taught and avid photographer, a creative director/account manager in his advertising team, based in Ipoh Malaysia. his passion for photography has been brewing since he learned to appreciate art and at the same time pursue his studied in Graphic Design.
Being a founder member of a photography society in his hometown in 1990, his journey of photography had been driving him to contemporary and fine art photography mostly in black and white.
I love portraiture. But perhaps more, I love exploring unknown places and stumbling across an interesting person and setting. I have been fortunate enough to randomly meet kind people who were generous enough to allow me to photograph them. Some of my favorite examples of these instances are below
The pictures on this site are the result of hundreds of hours spent walking, hitching, and driving across Sub-Saharan Africa. They are a testimony to the vibrant cultures that still exist within some of the most isolated lands on earth
Estevan Oriol is an internationally celebrated professional photographer, director and urban lifestyle entrepreneur. Beginning his career as a hip-hop club bouncer turned tour manager for popular Los Angeles-based rap groups Cypress Hill and House of Pain, Estevan’s passion for photography developed while traveling the world. With an influential nudge and old camera from his father, renowned photographer Eriberto Oriol, Estevan began documenting life on the road and established a name for himself amid the emerging hip-hop scene.
Nearly 20 years later, Oriol’s extensive portfolio juxtaposes the glamorous and gritty planes of LA culture, featuring portraits of famous athletes, artists, celebrities and musicians as well as Latino, urban, gang, and tattoo counterculture lifestyles. He has photographed Al Pacino, Robert Dinero, Dennis Hopper, Marissa Miller, Kim Kardashian, Kanye West, Snoop Dogg, Floyd Mayweather, and Lance Armstrong amongst others. He has also produced shoots for internationally-acclaimed photographers such as Ellen von Unwerth for Sang Bleu and Luca Babini for GQ Italy.
In addition to shooting campaigns for companies including Cadillac, Nike and Rockford Fosgate and directing new media projects for My Cadillac Stories, MetroPCS, MTV and Apple, Estevan has designed album covers and/or directed music videos for artists including Eminem, Cypress Hill, Blink 182, Snoop Dogg and Xzibit.
Mark Seliger was born in Amarillo, Texas in 1959, where he lived with his parents, Maurice and Carol Lee, and his two older brothers and younger sister, until 1964, when they moved to Houston. Seliger’s early interest in photography began when his brother Frank promised to give him his Diana camera if he got a base hit in Little League. He didn’t get the hit, but he got on base (by getting a walk for getting hit in the shoulder with the ball), and the camera was his. His first love quickly became the darkroom where he began experimenting with printing and developing in the family’s bathroom. He attended Houston’s High School for Performing & Visual Arts and, from there, went on to attend East Texas State University, where his education began in earnest, as he studied the history of documentary photography. He moved to New York City in 1984. In 1987, he began shooting small assignments for Rolling Stone. He was signed as their Chief Photographer in 1992. During his time at Rolling Stone, Seliger shot over 125 covers and began a long term collaborative relationship with Design Director, Fred Woodward, which continued into their work with GQ. They have co-directed numerous music videos for artists such as Willie Nelson, Lenny Kravitz and Elvis Costello. In 2001, Seliger moved from Rolling Stone to Condé Nast. He shoots frequently for Vanity Fair, Elle, Italian Vogue, L’Uomo Vogue and German Vogue. In 2011, he co-founded a non-profit exhibition space for photography with Brent Langton called 401 Projects, which has featured shows for James Nachtwey, Eugene Richards, Albert Watson, Platon, among others. Seliger continues his love of the darkroom by using the platinum palladium process to create large-scale, 30”x40” prints, and his photographs have been exhibited in museums and galleries. He has published numerous books, including: On Christopher Street: Transgender Stories (Rizzoli, 2016), Listen (Rizzoli, 2010), Mark Seliger: The Music Book (teNeues, 2008), In My Stairwell (Rizzoli, 2005), Lenny Kravitz/Mark Seliger (Arena, 2001), Physiognomy (Bullfinch, 1999) and When They Came to Take My Father – Voices from the Holocaust (Arcade, 1996). Seliger is the recipient of such esteemed awards as: Alfred Eisenstaedt Award, Lucie Award, Clio Grand Prix, Cannes Lions Grand Prix, and ASME’s. In 2017, Seliger’s work became a part of the permanent collection of the National Portrait Gallery at the Smithsonian Institution in Washington, DC.
Marion Post Wolcott was born in Montclair, New Jersey, and educated at the New School for Social Research, New York University, and at the University of Vienna. Upon graduation in 1932, she returned to New York to pursue a career in photography and attended workshops with Ralph Steiner. By 1936, she was a freelance photographer for Life, Fortune, and other magazines. She became a staff photographer for the Philadelphia Evening Bulletin in 1937 and remained there until Paul Strand recommended her to Roy Stryker at the Farm Security Administration, where she worked from 1938 to 1942. Wolcott suspended her photographic career thereafter in order to raise her family, but continued to photograph periodically as she traveled and taught, in Iran, Pakistan, Egypt, and New Mexico. In 1968 she returned to freelance photography in California and concentrated on color work, which she had been producing in the early 1940s. Wolcott’s photographs have been included in group and solo exhibitions at the Museum of Modern Art in 1962, ICP, and elsewhere. Among other honors she has received are the Dorothea Lange Award, and the 1991 Society of Photographic Education’s Lifetime Achievement Award. The several books on her life and career include Paul Henrickson’s Looking for the Light: The Hidden Life of Marion Post Wolcott (1992).
Wolcott’s documentary photographs for the FSA are notable for their variation in subject matter. Because she joined the organization late in its existence, Stryker often gave her assignments intended to complete projects already begun by others. Wolcott’s photographs show wealthy and middle-class subjects in addition to the poor people and migrant workers who appeared in most FSA photographs. Her body of work provides a view into another side of the 1930s in America, among that small percentage of people who could afford to escape the damaging effects of the Depression.
The Roma are a distinct ethnic minority originating from Northwestern India and living all over Europe and America. Their total population has recently been esteemed to be more than 14 millions. They usually form a separate social group, only partially integrated into the societies and countries where they live. A history of discrimination, persecution and killings – culminating with the Nazi holocaust – has pushed the Roma and other related minorities (Sinti etc.) to the margins of society, making them one of the most vulnerable and disadvantaged minorities in Europe. Many Roma continue to face widespread racism and discrimination and to get limited access to basic rights and services and are almost unrepresented in public and political life. As a result, poverty, unemployment, illiteracy, lack of formal education, substandard housing are commonplace among them.
The photographer’s work on the Roma started in the late ’90s, in several Roma camps scattered around Italy (Rome, Naples, Bologna). In 2015, he returned to Bosnia on the tracks of their culture. From Mostar to Sarajevo, Roma people live in the outskirts of cities in labyrinthic villages consisting of shacks or small houses and keep more faithful to ancient traditions than more nomadic groups who moved to the West and got influenced by richer and consumeristic societies.
This story intends to tell Roma’s unvarnished truth, beyond stereotypes and ignorance still surrounding them, benefiting from a very close and intimate look and revealing unknown aspects of their emotions and culture.
I started in this business as a hair and makeup artist 20 years ago. It’s a world I love and understand, even though it is sometimes crazy and superficial.
I started photography late in my career, simply with my children, their cousins and friends in my home state of Massachusetts and on vacation in Maine. I love photographing children and adolescents-their expressions, their offhand style, their innocence and spontaneity.
As an American, who has been living in France for the last two decades, I feel I bring a certain “Made in the USA” authenticity and naturalness to my photos.
If I can achieve a blend of European sophistication and American realism in them, I’m happy.
Fulvio Bugani was born in Bologna in 1974.
He started working as a photographer in 1995. After a close collaboration with major photo studios of Bologna, he founded his own studio in 1999
Bugani has been a freelance professional photographer for over 20 years, working with associations and NGOs. He actively collaborates with MSF (Medecins Sans Frontier) and Amnesty International, for which he has participated in several projects on human rights, illegal immigration and the right to housing.
His work has been published on international magazines and websites like TIME LightBox, LFI – Leica Fotografie International and Cubadebate.
Among other recognitions, in 2015 he was awarded at the World Press Photo, for his work about Indonesian Transgender. While in 2016 his reportage about Cuba was selected as one of the 12 finalists at the Leica Oskar Barnack Award.
Martín Chambi tiene origen campesino, proviene de los Andes Peruanos, de un pueblo llamado Coaza, distrito de Carabaya cercano al lago Titikaka en el departamento de Puno. Nace el 5 de noviembre del año 1891.
Luego de su primer contacto con la fotografía en la mina de oro donde trabajaba su padre, la Santo Domingo Mining Company, viaja a Arequipa donde aprende el oficio de su maestro y guía Don Max T. Vargas, luego del aprendizaje y práctica en los talleres del Portal de Flores de la Plaza de Armas, finaliza su estadía en Arequipa exponiendo, gracias al patrocinio de su maestro en el Centro Artístico de aquella ciudad el 12 de octubre de 1917.
En los siguientes meses viaja acompañado de su esposa Manuela López Visa y sus hijos Celia y Víctor a la ciudad de Sicuani donde instala su propio y primer Estudio y taller. Sicuani, capital de la provincia de Canchis, es un lugar próspero en ese entonces por el desarrollo en la explotación de las lanas de alpaca y llama y su industrialización textil; durante su permanencia allí nace su única hija fotógrafa Julia Chambi.
Se establece profesionalmente y luego decide trasladarse al Cusco, ciudad a la que llega en 1920 atraído por su esplendor e historia, es en esta ciudad en la que desarrolla su trabajo más importante y deslumbrante hasta su muerte. Es aquí también donde nacen sus hijos Angélica, Manuel y Mery y es desde el Cusco que logra dimensión nacional e internacional por su trabajo.
En vida y en persona, expone en diversas Salas y Galerías de Lima y Arequipa, también muestra sus obras en La Paz, Bolivia en 1925 y en Santiago de Chile en 1936.
Es interesante mencionar su paso como reportero gráfico, por el Diario peruano La Crónica y las revistas Variedades y Mundial y finalmente por La Nación de Buenos Aires durante los años de 1918 a 1930. También publica su obra fotográfica en la revista norteamericana National Geographic en febrero de 1938.
Martín Chambi revela el universo cotidiano y mágico de la cultura andina entregándole al mundo su secreto más íntimo, a través de su archivo fotográfico que contiene cerca de 30,000 negativos, entre placas de vidrio, las cuales tienen diversos formatos: desde las más grandes de 18 x 24 cm. pasando por las de 13 x 18 cm., 10 x 15 cm; hasta las más pequeñas de 9 x 12 cm. y películas flexibles, rollos de 120 y de 35 mm. material que se encuentra en perfecto estado de conservación en la ciudad del Cusco.
El archivo cuenta felizmente con la protección y cuidado de sus herederos, en especial por su hija Julia, lamentablemente fallecida en el año 2003, a la que deja su Archivo en su lecho de muerte el 13 de septiembre de 1973, confesándole que le entrega una mina la cual ella sabrá explotar.
Constance Stuart Larrabee, a photographer who recorded the vanishing tribes of southern Africa, the World War II battlefields of Europe and her life on Maryland’s tranquil Eastern Shore, died on July 27 at her home in Chestertown, Md. She was 85.
Known as Constance Stuart earlier in her career, Mrs. Larrabee in 1997 donated her African images to the Smithsonian Institution’s National Museum of African Art, her World War II pictures to the Corcoran Gallery and her views of the Eastern Shore to the Chesapeake Bay Maritime Museum.
She photographed South African soldiers fighting their way up the Italian boot, as well as the liberation of Paris, with Gen. Charles de Gaulle, in profile, addressing a crowd. Finally, the show ended on a genteel note in Maryland, where she bred Norwich and Norfolk terriers on a farm and depicted the rivers and creeks, wildlife and people of her surroundings.
Two of her South African photographs were included in Edward Steichen’s famous international exhibition and collection of the mid-1950’s, ”The Family of Man.” The Museum of Modern Art billed it as ”the greatest photographic exhibition of all time,” and she shared the credits with the likes of Margaret Bourke-White, Frank Capra and Henri Cartier-Bresson.
Born in England, Mrs. Larrabee grew up in Pretoria, South Africa, and studied photography in London and Munich. In 1936 she started a portrait studio in Pretoria to capture the white South African elite along with visitors like Noel Coward and members of the British royal family.
Apart from her commercial work, she began to chronicle the vanishing ethnic cultures of Bushmen, Transkei peoples and others in the region. Her exhibitions drew national attention and led to her appointment as a war photographer.
Jacques Henri Lartigue was unknown as a photographer until 1963, when, at 69 years old, his work was shown for the first time in a solo exhibition at the Museum of Modern Art, New York. That same year, a picture spread published in Life magazine in an issue on John Fitzgerald Kennedy’s death also introduced Lartigue’s work to a wide public. Much to his surprise, he rapidly became one of the twentieth century’s most famous photographers.
Jacques Lartigue was introduced to photography as early as the year 1900 by his father, Henri Lartigue, who gave him his first camera in 1902, when Jacques was eight years old. From then on, Jacques recorded incessantly the world of his childhood, from automobile outings and family holidays to inventions by his older brother Maurice (nicknamed Zissou). Born into a prosperous family, the two brothers were fascinated by cars, aviation and sports currently in vogue; Jacques used his camera to document them all. As he grew up, he continued to frequent sporting events, participating in and recording such elite leisure activities as skiing, skating, tennis or golf.
But young Jacques, acutely aware of the evanescence of life, worried that photographs were not enough to resist the passing of time. How could images taken in just a few seconds convey and retain all the beauty and wonder around him? In parallel to his photography, he therefore began keeping a diary, and continued to do so throughout his life.
He also took up drawing and painting in 1915. After briefly attending the Julian Academy in Paris, he became a professional painter, exhibiting his work from 1922 on in Paris and the south of France. In 1919, Jacques married Madeleine Messager, the daughter of composer André Messager; their son Dany was born in 1921. Jacques and Madeleine divorced in 1931.
Jacques circulated in high society until the early 1930s, when the decline of the Lartigue fortune forced him to look for other sources of income. But he refused to give up his freedom by taking on a steady job, and lived meagerly off his painting throughout the 1930s and 1940s. In the early 1950s, while pursuing his painting career, he also began to receive some recognition as a photographer.
In 1962, with Florette, his third wife, he sailed by cargo ship to Los Angeles. During their travels, they stopped in New York, where they met with Charles Rado, founder of the photo agency Rapho. After seeing Lartigue’s photographs, Rado introduced him to John Szarkowski, the newly appointed director of the photography department at the Museum of Modern Art. Szarkowski was so impressed that the following year, he organized the first-ever exhibition of Lartigue’s work.
A retrospective of Lartigue’s photographs was held in Paris’ decorative arts museum, the Musée des Arts Décoratifs, in 1975—the year after the French president, Valéry Giscard d’Estaing, asked him to take his official portrait. In 1979, Lartigue signed an act donating his entire photographic output to the French government, the first living French photographer to do so; and mandated the Association des Amis de Jacques Henri Lartigue to conserve and promote his work. In 1980, his exhibition “Bonjour Monsieur Lartigue” was shown at the Grand Palais in Paris. He continued taking photographs, painting and writing until his death in Nice on September 12, 1986, at the age of 92, and left behind more than 100,000 photographs, 7,000 diary pages and 1,500 paintings.