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Marco Castelli
Marco Castelli
Marco Castelli

Marco Castelli

Country: Italian
Birth: 1991

Marco Castelli lives and works in Firenze, Italy. Both his personal and documentary research move through a deep interest in human environment and life, looking for different approaches to visual art and creative communication. His works have been awarded, published and displayed internationally.

Italian Lockdown - The Forbidden Photographs
2020. Coronavirus is spreading worldwide. Italy is the first european country to enter lockdown. People are forbidden to go outside except for necessity reasons. For the first time, we are facing an historical time during which visual documentation is explicitly compromised, moving in the shadow line of imposed prohibitions. What legitimates the photographer's role, apart from a press pass? Is the narrative eye able to reclaim its right to a conscious analysis, without relying on law interpretations and self-employment bureaucracy? Moreover, what draws the line between the duty of documentation and the possibility of it? This and other thoughts, together with the overwhelming need to visually describe an unprecedented historical phase, give birth to the series "Italian Lockdown - The Forbidden Photographs".

Websites

www.marco-castelli.com

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More Great Photographers To Discover

Annick Donkers
Annick Donkers
Belgium
Annick Donkers is a documentary photographer from Antwerp, Belgium. After obtaining a Master’s degree in Psychology, she decided to specialize in photography. She has received a grant from the Mexican Ministry of Foreign Affairs and was selected to participate in the Seminar on Contemporary Photography at the Centro de la Imagen in Mexico City (2008). Her work has been exhibited and published internationally. She was one of the winners at the Survival International Competition (2015), won an award at the San José Photo Festival in Uruguay (2016), the Sony Awards in UK (2016), the MIFA awards in Russia (2016), the IPA awards in USA (2016), the TIFA awards in Tokyo (2016), received an honorable mention at the Px3 Prix de la Photo in Paris(2016), was selected at Latin American Photography vol.5 (2016), on the cover of Dodho magazine (2016), shortlisted for the Kolga Tbilisi Awards and Athens Photo Festival (2017). She currently lives and works as a freelance photographer in Mexico City.About Lucha Libre Extrema The Lucha Libre Extrema series emerged from a growing interest I had in Mexican professional wrestling. I was soon drawn towards sub-genres of the sport such as Lucha Libre Exótica and Lucha Extrema. This semi-clandestine hardcore genre is currently prohibited in Mexico City because of how dangerous it is, but events still take place outside the capital, notably at a car wash-turned-arena in Tulancingo, the village where El Santo, Mexico’s most famous pro wrestler, was born. The participants receive professional training and are paid a little bit more because of the risks they take. They perform with a variety of weapons: chairs, thumbtacks, wire, and fluorescent lights, turning the ring into a war zone. Yet the community of luchadores “extremos” is closely knit and few outsiders have gained access. Mexico has been a very violent place in recent years. As such, I found it fascinating that people were drawn to the dangerous world of Lucha Libre Extrema and turned my camera to the audience in an attempt to understand their reasons. About Afromexican HealersAt the end of last year my attention was drawn to the coastal region of Guerrero known as Costa Chica, located to the south of Acapulco. This region is home to Mexicans descended from African slaves that identify themselves as being “black”. But outside this region they are little-known and they are currently fighting to be officially recognized by the Mexican State. The Costa Chica is also a place rooted in traditional beliefs that include appearances of trolls, the devil and spirit animals. The legend tells that when a baby is born, a member of the family brings the child to a crossroads up in the mountains where lots of wild animals pass by. The first creature to approach the child will be the child's spirit animal, or tono in Spanish, since there is now a dependency created between child and animal. This means that when the animal is hurt, wounded or dies, the person is too. In the Afromexican communities there are healers that will cure these "animal"-related illnesses, since conventional medicine will not work in these cases. The person is cured with herbs selected by the healers and also according to the needs of the animal. They call these healers curanderos del tono and there are only a small number of them left. I went to the Costa Chica region in an attempt to capture what remains of this Afromexican tradition.
Marci Rhodes
Marci Rhodes
United States
1991
With backgrounds in both fine art and commercial photography, my eyes are quick to find the perfect balance of technical mastery and creative freedom. My goal as a creative on set is to produce a warm, collaborative experience for everyone. Whether working with a team or on my own, seeing the client’s product or idea come to life - even better than they imagined - is so fulfilling. Understanding a brand or product and translating it’s functions and purpose into an emotionally-striking visual representation is such a fun challenge. Problem solving and paying attention to the finest details is something I particularly enjoy. Many times, the smallest details are the most important, and can transform a good shot into a fantastic shot!
John Haynes
John Haynes
United Kingdom
1937
I started taking photographs in1962 after being shown Henri Cartier Bresson's book (Les Européens) . Then after teaching myself photography with the aid of Andreas Feininger's book "Manual of Advanced photograhy " ( which is more about the thinking behind the photograph, than the technical) I worked for 2 years for "The Sunday Times" newspaper in London . I then started to specialise in theatre photography, taking photographs of plays using the same reportage photography I had taught myself on the streets. In house photographer for Royal Court Theatre, Hampstead Theatre London and photographed 200 plays for The National Theatre , London Exhibitions: London, New York, and Moscow National Portrait Gallery London. Samuel Beckett, Mike Leigh, and Joe Orton About Taking the Stage It may be that what really makes Haynes's photgraphs exceptional is that he has not only passively reflected a part of our theatrical tradition, but that his work has somehow contributed to it" Review by: Robert Gore Langton - Time Out About Images of Beckett "A major contribution to the way we see modernism.... the photo's show us not only what Beckett's play's looked like in original production, but also what Beckett wanted them to look like. They are the closest we can get to seeing them realized in the way he had envisaged them today" Review by: James Joyce - Literary Suppliment
Khalik Allah
Khalik Allah
United States
1985
Khalik Allah (born 1985) is an American filmmaker and photographer. His 2015 documentary film Field Niggas and his 2017 book Souls Against the Concrete depict people who inhabit the notorious Harlem corner of 125th Street and Lexington Avenue in New York City. His film Black Mother (2018) depicts people on the island of Jamaica. "He favours visual portraits of people on the street – filming their faces for several seconds as they pose as if for a still camera." In June 2020 he became a Nominee member of Magnum Photos. Khalik was born in Brookhaven, New York. His mother is Jamaican and his father is Iranian. He grew up in Suffolk, Long Island, New York, but moved between Queens and Harlem throughout his childhood. His parents met at university in Bristol, England. He is a dual Jamaican-American citizen. He started making movies at age 19 with a Hi-8 video camera. His first feature film, Popa Wu: A 5% Story (2010), was a "normal, talking heads documentary" about Popa Wu, "Wu-Tang Clan's de facto spiritual advisor" and a member of Five-Percent Nation. It took four years to make. Khalik took up still photography in 2010.Source: Wikipedia Despite challenges early in life, Allah managed to maintain discipline and focus on self-improvement. He credits these qualities, in part, to the teachings of the Five-Percent Nation, a movement whose name comes from its concept that only five percent of the world knows the truth about existence and is dedicated to enlightening the rest of the world. Founded in Harlem in the 1960s the movement emphasizes intellectual growth and enlightenment for black men in particular. Inspired and empowered by their message Allah seriously pursued the study of metaphysics, black history, and literature. Likewise, with no formal art training, he pursued video work first at the age of 14, and then photography, making his first pictures in 2010. He taught himself how to use a camera from videos on YouTube and later devoured books at the library on work of Henri Cartier-Bresson, Robert Frank, Nobuyoshi Araki, Daido Moriyama, and Bruce Davidson. Khalik Allah finished his first film at the age of 19 and after getting it into the hands of the rapper Killah Priest, Allah went on to direct music videos for different members of the Wu-Tang family. His filmmaking changed radically after he became a photographer. His camera work slowed down and he made prolonged eye contact with the individuals he filmed. His 2015 film, Field Niggas (inspired by Malcolm X's 1963 speech, "Message to the Grassroots”) received high acclaim and numerous awards including the 2015 Le Prix Scribe, Paris. He also served as one of the cinematographers for Beyoncé's Lemonade. His most recent film, Black Mother, will premiere at the True/False Film Festival in March and will have its New York premiere at the New Directors/New Films Festival April 4th at MoMA and April 7th at Lincoln Center. It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy. Made at night on 125th Street and Lexington Avenue in Harlem, the images in his recent book Souls Against the Concrete (University of Texas Press, 2017), provide a glimpse into a world and people that many choose to ignore. His subjects are often drug addicts, homeless, or both. Using only the available light from shop windows, street lights, or subway platforms, he photographs them with a slow color film, a combination that produces images full of grain and texture, a visual shorthand for the roughness and intensity of life on the street, and his own struggles early in life. The light is also often harsh or even surreal, resulting in figures awash in blues and reds. Luc Sante, in The New York Times Book Review, wrote, "The result is a panorama of human emotion: sadness, passion, bewilderment, pride, suspicion, amusement, exhaustion — all the faces of the night."Source: Gitterman Gallery Allah has led a life of many perspectives; he recounts, as a 20-year-old, walking all night to take portraits before working in a nursing home in Harlem during the day. His work and life is immersed in the teachings and sensibilities of The Five-Percent Nation, a cultural movement influenced by the Islamic faith and founded in Harlem in 1964. When he was nominated by Magnum, Allah told the agency: “The first thing black students are taught is that they were slaves. From second-grade on, your self-esteem is a couple of notches below the white students because you’ve been told you are inferior. That sticks with you and follows you into your adulthood. The Five-Percent Nation taught me not to take anything on face value,” Allah says. “That teaching has bled into my work. This is a spiritual film. And it’s a holographic film; a piece contains the whole and a whole contains the piece. And it’s an experiential film, one that brings you into an environment that most people would avoid.” The New York streets Allah shoots are indivisible with the history of street photography. Allah is working in the legacy of New York icons like Diane Arbus, Weegee, Garry Winogrand and Nan Goldin as well as fellow Magnum photographers Bruce Gilden and Bruce Davidson. But, perhaps unlike some of his current colleagues of the Magnum collective, Allah is deeply concerned with the question of photographic consent. In that sense, Allah perhaps embodies the attitude of a new generation of street photographers; ones who see the camera as a way of being alert and alive to social and racial injustice. “It’s important to speak to whoever you’re working with,” Allah says. “To share your intentions with your subjects. To properly introduce yourself, and to get permission and consent. As photographers, we’re responsible for the work we make, and we need to be conscious of that. That involves not shooting somebody that doesn’t want to be shot. That’s a basic thing. And don’t shoot children without a parent’s consent. That is very important to me.”Source: The Art Newspaper
Manuel Álvarez Bravo
Manuel Álvarez Bravo
Mexico
1902 | † 2002
Manuel Álvarez Bravo was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s and 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or Surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. He had numerous exhibitions of his work, worked in the Mexican cinema and established Fondo Editorial de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970. His work was recognized by the UNESCO Memory of the World registry in 2017.Source: Wikipedia Manuel Álvarez Bravo, one of the founders of modern photography, is considered the main representative of Latin American photography in the 20th century. His work extends from the late 1920s to the 1990s. Alvarez Bravo was born in downtown Mexico City on February 4, 1902. He left school at the age of twelve in order to begin making a contribution to his family's finances after his father's death. He worked at a textile factory for a time, and later at the National General Treasury. Both his grandfather (a painter) and his father were amateur photographers. His early discovery of the camera awakened in him an interest that he would continue to cultivate throughout his life. As a self-taught photographer, he would explore many different techniques, as well as graphic art. Influenced by his study of painting at the Academy of San Carlos, he embraced pictorialism at first. Then, with the discovery of cubism and all the possibilities offered by abstraction, he began to explore modern aesthetics. He had his initiation into documentary photography in 1930: when she was deported from Mexico, Tina Modotti left him her job at the magazine Mexican Folkways. He also worked for the muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Álvarez Bravo is an emblematic figure from the period following the Mexican Revolution often called the Mexican Renaissance. It was a time of a creative fertility, owing to the happy though not always tranquil marriage between a desire for modernization and the search for an identity with Mexican roots, in which archaeology, history and ethnology played an important role, parallel to the arts. Alvarez Bravo embodied both tendencies in the field of visual arts. Between 1943 and 1959, he worked in the film industry doing still shots, which inspired him to realize some of his own experiments with cinema. While Manuel Álvarez Bravo was alive, he held over 150 individual exhibitions and participated in over 200 collective exhibitions. According to several critics, the work of this "poet of the lens" expresses the essence of Mexico. However, the humanist regard reflected in his work, the aesthetic, literary and musical references it contains, likewise endow with a truly universal dimension. He died on October 19, 2002, at the age of one hundred.Source: www.manuelalvarezbravo.org Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston. In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.Source: Museum of Modern Art
Thomas Devaux
Thomas Devaux
France
1980
Thomas Devaux has authored several complex and ambitious series. In each of them one can find a subtle but strong game of jousting played out between his core values and the evolutions brought about by modern technology. The inflammatory value behind the photography is not so innate. It is more a direct effort meant to mirror a fragment of a future re-composition.The works in the "ATTRITION" series were selected according to their composition and their figurative will. This is a double articulation between what is borrowed and that which is a reinterpretation on one hand and an axe in art history on the other hand. "ATTRITION", thanks to the expanded possibilities of digital techniques of which I have become very experienced, shows a n affluence of forms and materials such as an organic proliferation of hair, of body parts, etc. The portrait becomes a division of a face created by itself or vanishes in its own contour. The development material, though shadowy and opaque, is light and see-through. It raises the texture of the paper which allows for an automatic refinement of the forms and pigments.The final result is both sensual and onirique in the in the very image of the models that Devaux photographs in the backstages of fashion shows. They allow him to grasp the pictorial qualities which remain anchored in this field of photography. His surface does not rely upon the thickness of painting materials but rather on an artificial yet original vocabulary which is personal and photographic." Source: Anne Biroleau-Lemagny, General Curator Charge of Contemporary 21st Century: French National Library Born in 1980. Lives and works in Paris.Thomas Devaux moved frequently when he was young and he never stopped being "in motion". He moved to London after graduating from high school, and then he started his studies in Montpellier, while exploring the image in all its forms: photography, experimental cinema, painting and collage...He achieved through this artistic extension to remove the boundary between drawing and photography. Finally, he obtained diploma of Licence in Performing Art in Paris (Paris X). Developing great interest in traveling and exploring the world, he found his place in 2006 working for a fashion magazine: Fashion Insider. He first started as a photographer and cameraman, and became the artistic director of the magazine in 2009. He attended the world's most famous fashion shows and worked in many countries (France, Italy, Brazil, Portugal, Georgia, UK, Turkey, Denmark, Cyprus...). Opening up to the world, and to all the celebrities he met and interviewed for his magazine, was the opportunity to develop and make his style recognized: Jean-Paul Gaultier, Karl Lagerfeld, John Galliano, Donatella Vercace, Sonia Rykiel, Usher, Chris Brown, Kanye West, Milla Jovovich, Beth Ditto, Pedro Almodovar... Source: 1:1 Photo Magazine At first sight, portraits. At second glance, the questioning. Paintings or photographs? Thomas Devaux artwork throws off. By its form as its content, it upsets any certainty. And, it is precisely though that movement that it comes to its full magnitude.Fashion photographer, Thomas Devaux keeps from its reports thousands of shoots made behind the scenes that feed a later digital work. Indeed, in front of his screen, he cuts, deconstructs, assembles and recomposes his pictures until he creates images full of contradictions. Far from being frightened, Thomas Devaux finds with these dualities a remarkable tool to transcend the boundaries and ward off any kind of fatality. Of fashion, he likes the aesthetics but condemns the stylistic dictum and the imperative beauty. Of photography, he praises the documentary force but fears the frozen relation to time. And, from these considerations, comes out the idea of an nonconformism, un-postural, in the original meaning, as Thomas Devaux refuses any reductive normativity without denying for all that any legagy. Entitling his series "Attriction", he seems to insist on the idea of wear. A notion that does not necessarily imply deterioration. As, if the marks of time destroy some aspects, they also reveal some others. Finally, his work damages beauty to enhance it out of the conservative models. It brings together traditional approaches and opens them to modernity. It integrates the cyclic dimension of existence and reminds that what springs dies and what dies springs again with a new form. Source: Ozarts Etc
Amadeusz Swierk
Amadeusz Swierk
Poland
1995
Amadeusz Świerk (born in 1995) is a documentary photographer based in Wrocław, Poland. Amadeusz strives to be an honest witness of the world. His work is often oriented on minorities – social, ethnic, religious and based on genuine experience of other human and his culture. Interested in ethnicity and natural way of living, he has done projects about Iranian nomads and informal subculture of people escaping society grown around wooden hut located in Polish mountains. Currently he is working on projects about a (in)famous district in the small town of Legnica, opioid addicts and personal, about his family. The Miracle District The story starts in a middle-sized town of Legnica, located in the southwest of Poland. It should have been unremarkable, but after World War II it had the dubious pleasure of stationing some 60,000 Soviet soldiers, who more or less dictated the town's life. During these difficult times, which ended very late in 1993, a small district called Zakaczawie (named from the local river) incidentally became a refuge for Poles' native life. Among the families of Polish railwaymen and strong Romani community relocated into the district by Communists, small businesses, cafes, pubs and cultural venues thrived, despite the dark shadow of the Soviet garrison. When the Curtain fell and the Soviets finally went away, the town of Legnica finally breathed a sigh of relief. Zakaczawie district wasn't especially lucky though. It's being left out by dynamics of Polish capitalism, omitted by investments and falling into disrepair. The ''Miracle District'' nickname of Zakaczawie gained a bitter and ironic edge, but generations of its citizens still retain a strong sense of community. There's crime, poverty and turbulent biographies being written by commercial exclusion, but many people actively decide to stay there despite the challenges. Contemporary Zakaczawie is a living witness of the winds of change, the whims of history putting the social microcosm of its citizens to new tests. It's not easy for them, but they have to live with it, and they do, mostly by simply staying together. This project aims to show that among the very visual poverty and dilapidation of the Miracle District, there are humans - families, friends, neighbors - trying to live their best. The author spent two years between them to go deep beyond the grim appearances, to understand these people as fully as possible, to become a witness - and to show to the world - their everyday, colorful lives, giving them an outward voice. The Miracle District The Shack Hidden among the scenic Karkonosze mountains in southwestern Poland, deep in the woods and well away from the popular tourist trails, The Shack – as its dwellers tend to call it – is a secret meeting place for a special bunch of people. Despite the lack of electricity and internet, every weekend, regardless of the season, The Shack is brimming with trekkers from various walks of life, who typically don’t have the opportunity to meet or interact. They seek shelter from social conventions and develop their own, unique and intimate, small-scale society and culture. The Shack is a place with rich traditions. Located off the beaten Karkonosze tourist trails, since the 1970s it has been popular with various groups of non-conformists. Hippies flocked there to escape the oppression of the Communist authorities. During the political transformations of the 80s, some of them joined Fighting Solidarity (Polish anti-Soviet and anti-communist underground organization), and The Shack became a print-and-distribution center of subversive leaflets. Throughout the years, both political and non-political visitors created a rich set of rules, The Shack’s unwritten code that acts as a tool for introducing newcomers and keeping a low profile. Breaking the code is punished by a system of humorous tasks. Over time, regulars started families and made professional careers, but they handed over The Shack’s traditions to the younger generation of visitors. There is a position of Shack Keeper, who stays there permanently. He lives alone in the wild, taking care of the building and getting along with its guests. He’s the unofficial leader within The Shack. The Keeper usually changes every few years. The Shack somewhat changes too, as Keeper’s personality influences the atmosphere.Today most Shack visitors come on weekends to escape civilization and relax for a bit. The flock of guests increased significantly during the pandemic; people tried to compensate for the scarcity of face-to-face contacts. The sense of belonging is built by working and eating together, among strangers. Guests forage wood from the forest and chop it, prepare meals on the wood-fired stove, share them with others by candlelight, play guitar, sing and dance – all without modern disturbances of internet and smartphones. The Shack dwellers want to experience the traditional way of life and stay among nature. Most appear occasionally, but there are always some who visit it regularly and enjoy it together.
Beamie Young
Beamie Young
United States
1955
As an artist, I have been creating photographs for the past 45 years. My evolution as an artist parallels my professional development. In the past, I had darkrooms both at home and work. Today, I use my digital camera and Adobe Photoshop. My inspiration to capture and present an image is not limited in any way to specific subjects. I am interested in the entire visual world and want to share that diverse array so that you may enjoy the excitement that I feel when I see something in an interesting light. Through the use of double exposure, compositing and photoshop I strive to create images that imply various narratives many involving time. I love the surreal look you can achieve with in camera double exposure.
Robb Johnson
Robb Johnson
United States
Robb Johnson creates haunting and mysterious black and white photographs reminiscent of the chiaroscuro style of the old Italian masters. The unusual atmospheric conditions he finds by photographing in the dark of night imbue his photographs with mystery. He sets a stage where the actors seem to have just stepped off or have yet to arrive for some unknown drama. Johnson’s photographs evoke a world where the viewer is free to explore with his or her own emotions and awareness – a drama unbeknownst but to them. Robb was a scholarship student at Art Center College of Design and earned a BFA in Photography. He worked in advertising photography for over 20 years, specializing in creating visual environments for national hotels with his wife Dale. He decided to turn his visual focus inward and pursue his art for himself. His work has been featured in B&W Magazine, Spotlight and B&W Single Image for 2006, 2007 and 2008 and his book, Robb Johnson Photographs was published by The French Press in 2008.
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Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Read the full interview
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