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Dilla Djalil-Daniel
Dilla Djalil-Daniel
Dilla Djalil-Daniel

Dilla Djalil-Daniel

Country: Indonesia
Birth: 1966

Dilla Djalil-Daniel is a Jakarta based documentary photographer who was born in 1966.

Her first introduction to the camera was when her father gave her a boxy Kodak camera as her 9th birthday present. Ever since then she has been something of a shutterbug.

Dilla obtained her bachelor degree from The University of Indonesia, majoring in English Literature.

Dilla's first photography mentor was her late father, and for many years she shot her objects intuitively, relying on her feelings, sensitivity and a good eye. In 2010 she decided to join a photojournalism workshop in Bangkok. She had finally found the genre that suited her the most, which is story telling using her camera.

One workshop inevitably leads to another, and she found herself attending more and more documentary and photojournalism workshops. Dilla is an alumnus of the Foundry Photojournalism workshop, the Momenta Documentary workshop and the Obscura Workshop. These overseas workshops also suited her well since she loves adventurous travelling. In the course of these workshops she has been fortunate to have had an impressive list of various award-winning photojournalists as her mentors.

For Dilla photography is the medium that enables her to express her feelings. It is an art form that sees the camera as a brush and light as paint and the intent is always to narrate a story. It is her wish to carry on telling stories through her pictures, the stories she feels like telling, for as long as she can.

Orphans of the Forest
As a documentary photographer who also happens to be an animal lover, my main motivation has been to explore the different facets of the relationship between mankind and the animal kingdom. What speaks to me most is trying to capture the mysterious forms of communication that can and do exist between us.

I tend to spend a considerable amount of time portraying domestic and wild animals in the form of a photographic narrative. It is most certainly not just a matter of trying to capture images of animals looking cute. The relationship between animals and humans is complex even if there is a dependency with domesticated animals, let alone with animals in the wild, whose existence is threatened by human presence or activities. What I find particularly poignant is where the relationship between animals and humans involves both abuse and dependency.

Domestic and increasingly animals in the wild can and do benefit from compassionate intervention by humans. Much of my work attempts to depict this in action. The people involved are often rather under appreciated but it does not affect their devotion and passion in helping their charges by trying to improve their welfare and health. My intention is to try and speak on behalf of the animals and those who care for them.
 

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Carl Mydans
United States
1907 | † 2004
Carl Mydans was an American photographer who worked for the Farm Security Administration and Life magazine. Mydans grew up playing on the Mystic River near Medford, near Boston, Massachusetts. His father was an oboist. Mydans became devoted to photography while in college at Boston University. While working on the Boston University News he abandoned childhood dreams of being a surgeon or a boat builder in favor of journalism. His first reporting jobs were for The Boston Globe and the Boston Herald. After college, he went to New York as a writer for American Banker and then in 1935 to Washington to join a group of photographers in the Farm Security Administration. There he worked with other photographers like Dorothea Lange and Ben Shahn to document the conditions of the American rural workers. In 1935, he traveled throughout New England and America's South, documenting the end of a rural-based economy, and gained a measure of renown for his images of bedraggled Arkansas farmers and their families. It was the Great Depression, and the poorest of America's poor were devastated by the economic downturn. "One picture, of a Tennessee family living in a hut built on an abandoned truck chassis, portrays the misery of the times," noted Mydans' Times of London obituary, "as starkly as any photographs by his more celebrated contemporaries." In 1936, he joined Life as one of its earliest staff photographers (Alfred Eisenstaedt, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole were the original staff photographers) and a pioneering photojournalist. Mydans recorded photographic images of life and death throughout Europe and Asia during World War II traveling over 45,000 miles (72,000 km). In 1941, the photographer and Shelley Mydans were the first husband and wife team on the magazine's staff. Shelley and Carl were captured by the invading Japanese forces in the Philippines and interned for nearly a year in Manila, then for another year in Shanghai, China, before they were released as part of a prisoner-of-war exchange in December 1943. After their release, Mydans was sent back into Europe for pivotal battles in Italy and France. By 1944, Mydans was back in the Philippines to cover MacArthur's return. Mydans snapped the moment when General Douglas MacArthur purposefully strode ashore in the Philippines in 1945, The legendary officer had declared, when the Japanese came in 1942, "I shall return," and Mydans' photograph of the formidable general immortalized that claim for posterity. Some asserted that it must have been staged, but Mydans resolutely defended the photograph as entirely spontaneous, though he did admit that MacArthur was savvy about public-relations opportunities. The general had appeared in Mydans' other memorable image from that assignment, watching with other top U.S. brass as a Japanese delegation signed the official documents of surrender on an early September day in 1945. "No one I have ever known in public life had a better understanding of the drama and power of a picture," Mydans, said about MacArthur. Mydans also captured the signing of Japan's surrender aboard the U.S.S. Missouri. Some of Mydans's other famous pictures include the bombing of Chongqing, angry French citizens shaving the heads of women accused of sleeping with Germans during the occupation in 1944; a roomful of excited royal youngsters and their staid older relatives in 1954; and a 1950 portrait of Douglas MacArthur smoking a pipe. But he also photographed the war from the viewpoint of the ordinary soldier or sailor. "Resourceful and unruffled, Mr. Mydans sent back pictures of combat that even now define how some remember World War II, Korea, and other conflicts," noted The New York Times. Despite his two years in captivity, Mydans bore no ill will toward the Asian nation, and accepted an assignment to head Time-Life's Tokyo bureau with his wife. Time-Life was the publisher of Time, Life and other top magazines, which Mydans continued to provide with an array of visual stories. In 1948, he just happened to be in the city of Fukui when a destructive earthquake struck; some of his shots were taken on the street while buildings were collapsing around him. After covering the Korean War, Mydans traveled the globe for the next two decades for Life before the publication folded in 1972. When it was relaunched several years later, he was still listed as one of its contributing photographers. He died on August 16, 2004, of heart failure at his home in Larchmont, New York, at the age of 97. Widowed in 2002, Mydans was survived by his daughter, Misty, a California attorney; and his son, Seth, Asia correspondent for The New York Times.Source: Wikipedia Having started out as a newspaper reporter, Carl Mydans switched over to the camera and at the height of the Depression worked for the Farm Security Administration, documenting the travails of migrant farm families. After signing on with LIFE, he and his wife, Shelley, became the magazine’s first roaming photographer-reporter team. In 1941 they were sent to China to cover Japanese bombing raids there; late in the year they were trapped in Manila when the Japanese overran the Philippines, and they were held captive for nearly two years before being repatriated in a POW exchange. When the prison camp was about to be liberated, Douglas MacArthur sent Mydans in with the first tanks. Of course, Mydans’s picture of MacArthur “returning” to the Philippines is one of history’s most celebrated photographic images. Mydans was known also for his intriguing portraits of such as Pound and Faulkner. In the words of David Hume Kennerly, “Carl Mydans is a photographer’s photographer and a human’s human.” In the prison camp at Santo Tomas in the Philippines, said Shelley Mydans, “they didn’t feed us, so we were very hungry, and we were sick sometimes.” Rogers and Todd, at right, were among the three dozen men with whom Carl shared a room at the prison. Between them, the duo lost 131 pounds during their four years of internment.Source: LIFE
Dan Fenstermacher
United States
1985
Dan Fenstermacher merges documentary storytelling, and street photography with both humor and activism. Fenstermacher was recently selected as the winner of the 2020 Miami Street Photography Festival International Series Contest and the 15th Annual Smithsonian Photo Contest for the American Experience category. Fenstermacher has photographic experience on four continents including a multi-media internship in Accra, Ghana, as a portrait photographer in Sydney, Australia, a Professor of Fine Arts at Xiangfan University in China, and as an artist-in-residence in San Ramon Costa Rica. His work about mental illness and stigma has been featured in The Huffington Post. He holds a Master of Fine Arts Degree in Photography from San Jose State University, is a member of the Bay Area Photographers Collective, Maverick Photographers, and teaches photography at West Valley Community College. About Food Chain Series Every day the fisherman from the seaside towns of Prampram, Cape Coast, and Ada, Ghana, head out to sea where they fish up to 40 kilometers offshore. For generations families of these communities have fished the Atlantic Ocean. What they catch will determine the livelihood of the community and their families. Rising early to push the canoes in the water and fight with the breaking waves, and after a pause for prayer; the 10-hour workday ensues. Back on land the selling, cleaning, and cooking of the fish is a lively affair. Working hand to mouth, the fish are sold and taken in baskets by families and prepared for frying in oil for the night’s dinner. Some days there are barely any fish from the day’s work. To make matters worse, due to overfishing by many big fleets from China there is a depleted supply of fish. Millions of dollars per year are reported to be taken from the Ghana economy by overfishing from foreign countries. Because of this the government of Ghana has implemented an annual one-month fishing ban on local fisherman. Many do not know how they will make a living for the length of this ban, and fish illegally risking fines in-order-to feed themselves. With supplies of fish dwindling and the broken food chain as a result, these communities have little to fall back on, and the future of the Ghanaian fishing occupation is in danger of being inundated.
Jo Ann Chauss
United States
1954
Jo Ann Chaus is an American photographer from and based in the New York metro area She holds two certificates from the International Center of Photography in New York City. In 2016 Jo Ann self-published "Sweetie & Hansom", a 60-image book with original text exploring family, relationships and loss. Her current body of work, "Conversations with Myself", is a collection of performative self-portraiture that explores women's roles and identity, currently under edit for publishing. Her work has been exhibited nationally and internationally, and she holds special recognitions and awards: Critical Mass Top 200 2020, 2019, 15th Julia Margaret Cameron Award for Women Photographers Winner Self Portrait Series, 14th Julia Margaret Cameron Awards Honorable Mention, Winner 13th Pollux Awards non-professional category, Critical Mass 2019 Top 200, Klompching Fresh 2019 Finalist, PDN Emerging Photographer Fall 2019 Winner, , Candela Unbound8! and 9! juried exhibitions, Permanent Collection in the Center for Creative Photography Qualities of Light Exhibition, Juror's Choice South East Center for Photography Portrait Exhibition 2019. Statement Jo Ann's work is a visual record of her interactions with and with-in her environment, and her curiosity to explore and discover personal truths, whether found or assembled, as metaphors for her inner landscape. She expresses the joys and pathos of a life, as seen and felt by the young girl within who became the woman, the mother, and the wife. Her perspective is through the eyes of an elder in our society, contemplating the challenges and incongruities of her own will, desire and constraints within a historical context. Heightened and enhanced by the literal light of day, it is an examination of life's ambiguities: the close and the distant, the beauty and the grit, the singular and the plural, satisfaction and longing, together and apart… all relentlessly seeking to understand and witness herself, past, present and future.
Andrea Reese
United States
Andrea Star Reese is a photojournalist/documentary photographer based in New York currently working in Indonesia.In 2013, Disorder, a documentary reportage on conditions faced by Indonesians suffering from mental illness and undiagnosed mental disorders was exhibited at Visa Pour L’Image Perpignan, and Angkor Photo Festival., Published on Lightbox.time.com. the essay followed men and women in homes, shelters, schools and hospitals.Previously, Urban Cave, a three-year project on long term unsheltered men and women living in makeshift housing in New York City was exhibited at Visa Pour L’Image 2010. Urban Cave received Best Social Documentary from The New York Photo Festival, was a finalist for POYI: World Understanding, a FotoEvidence book award finalist, and a 2010 Visa d’Or, Feature nominee. Most recently Urban Cave was exhibited at Theory of the Clouds Gallery, Kobe, Japan and at the 2013 Athens Photo Festival. Urban Cave has been published internationally. An ongoing update in preperation for a book is in progress.Ms. Reese first worked in Indonesia directing a feature documentary film made up of short stories collected during the 2003-2004 run up to the country’s first direct democratic presidential election. The film covered issues pertinent to the time. On staff at the International Center of Photography School, and a tutor at the 2013 Angkor Photo Festival Workshop, Andrea Star Reese is a 2010 fellow in Photography from the New York Foundation for the Arts and a reGeneration2 photographer.Grants/Awards2013 Finalist Fotoevidence Book Award2012 American Photography 28: Best pictures from 2011_ (Chasing Stigma, working title, work in progress)2011 Honorable Mention International Photo Awards_(Chasing Stigma,working title, as work in progress)2011 Honorable Mention International Photography Award_Merapi’s Breath2011 Finalist Picture of the Year World Understanding Urban Cave 2011 Included as part of AnthropoGraphia2010 New York Foundation for the Arts Fellowship in Photography2010 2nd place fotovisura award2010 Nominated Visa d’or Feature2010 Invited reGeneration2: Tomorrows Photographers Today2009 3 Hon. Mentions International Photo Awards Editorial/Other, Editorial/Essay Deeper Perspective2009 Finalist Magnum Expressions Award2009 Best Social Documentary New York Photo Awards2009 Honorable Mention Camera Club New York2008 Les Visas de L’ANI
Marc Riboud
France
1923 | † 2016
Marc Riboud was a French photographer best known for his extensive reports on the Far East, including The Three Banners of China, Face of North Vietnam, Visions of China, and In China. Photography cannot change the world, but it can show the world as it changes. -- Marc Riboud Riboud was born in Saint-Genis-Laval and attended Lyon's lycée. He photographed his first picture in 1937, using his father's Vest Pocket Kodak camera. From 1943 to 1945, he was a member of the French Resistance as a young man during WWII. From 1945 to 1948, he studied engineering at the École Centrale de Lyon after the war. Marc Riboud worked as an engineer in Lyon factories until 1951, when he took a week-long photography vacation that inspired him to become a photographer. He relocated to Paris, where he met the founders of Magnum Photos, Henri Cartier-Bresson, Robert Capa, and David Seymour. He was a member of the organization by 1953. His ability to capture fleeting moments in life through powerful compositions was already apparent, and he would use this skill for decades to come. Eiffel Tower Painter, Paris, 1953© Marc Riboud Riboud traveled around the world for the next several decades. He was one of the first European photographers to visit China in 1957, and he documented North Vietnam in 1968, 1972, and 1976. Later in life, he traveled extensively throughout the world, primarily in Asia, Africa, the United States, and Japan. Marc Riboud has witnessed war atrocities (photographing from both the Vietnamese and American sides of the Vietnam War) as well as the apparent degeneration of a culture suppressed from within (China during Chairman Mao Zedong's Cultural Revolution). In contrast, he has captured the graces of everyday life in sun-drenched corners of the world (Fès, Angkor, Acapulco, Niger, Bénarès, Shaanxi), as well as the lyricism of child's play in everyday Paris. In 1976 he becomes president of Magnum and resigns three years later. Riboud's photographs have appeared in a variety of publications, including Life, Geo, National Geographic, Paris Match, and Stern. He has received the Overseas Press Club Award twice, the Sony World Photography Awards Lifetime Achievement Award in 2009, and major retrospective exhibitions at the Musée d'Art Moderne de la Ville de Paris and the International Center of Photography in New York. In 1998, Marc Riboud was named an Honorary Fellow of the Royal Photographic Society. The eye is made to see and not to think.... A good photograph is a surprise. How could we plan and foresee a surprise? We just have to be ready. -- Marc Riboud Eiffel Tower Painter, taken in Paris in 1953, is one of Riboud's most well-known photographs. It depicts a man painting the tower, posing like a dancer and perched between the tower's metal armature. Paris emerges from the photographic haze beneath him. Riboud's images frequently feature lone figures. In Ankara, a central figure is silhouetted against an industrial backdrop, whereas a man lies in a field in France. The vertical composition emphasizes the landscape, the trees, the sky, the water, and the blowing grass, which all surround but do not overpower the human element. The Ultimate Confrontation: The Flower and the Bayonet, Washington D. C, 21 Octobre 1967© Marc Riboud Riboud's photograph, The Ultimate Confrontation: The Flower and the Bayonet, taken on October 21, 1967, is one of the most famous anti-war images. The photograph was taken in Washington, D.C., where thousands of anti-war activists had gathered in front of the Pentagon to protest America's involvement in Vietnam. It shows a young girl, Jan Rose Kasmir, holding a flower and looking out at several rifle-wielding soldiers stationed to block the protesters. Marc Riboud stated about the photograph, "She was just talking, trying to catch the eye of the soldiers, maybe trying to have a dialogue with them. I had the feeling the soldiers were more afraid of her than she was of the bayonets." In contrast to the images in his photo essay A Journey to North Vietnam (1969), Riboud says in an accompanying interview, "My impression is that the country's leaders will not allow the slightest relaxation of the population at large [...] it is almost as if [...] they are anxious to forestall the great unknown - peace." He expanded on his observations of life in North Vietnam in the same Newsweek article: "I was astonished, for example, at the decidedly gay atmosphere in Hanoi's Reunification Park on a Sunday afternoon [...] I honestly did not have the impression they were discussing socialism or the 'American aggressors' [...] I saw quite a few patriotic posters crudely 'improved' with erotic graffiti and sketches." Vietnam, 1976© Marc Riboud There is a gap between what is photographed (or published) and what Riboud said in his interview. The author Geoffrey Wolff commented on this in 1970: "Riboud's photographs illustrate the proposition. The French photographer has been to North Vietnam twice [...] and he is most friendly, on the evidence of his pictures, to the people and the institutions he found there. His photographs are of happy faces,[...] An Air Force ace illustrates how he shot the American 'air pirates' from the sky [...] Who knows the truth about these places?" Rage Against the Machine, an American revolutionary political Rap Metal band, used two of Riboud's photographs for their second single Bullet in the Head. Both images convey strong political and social messages, but they are very different. The front cover depicts American schoolchildren pledging allegiance to the 'flag' (Stars and Stripes) in a classroom; the back cover depicts a young (probably Vietnamese) boy pointing a pistol, with soldiers on parade in the background. It's unclear who or what the boy is aiming at, or if the gun is real or a toy. Since the 1980’s Marc Riboud keeps travelling at his own tempo. He published many books, among which the most famous are The three banners of China, Journal, Huang Shan, Capital of Heaven , Angkor, the serenity of Buddhism, Marc Riboud in China. Riboud married the American sculptor Barbara Chase, who was living in Paris at the time, in 1961. They had two kids. Sally Hemings (1979), her debut novel, received critical acclaim and went on to become a best-seller. They divorced prior to 1981. He later married journalist and author Catherine Chaine. Riboud died on August 30, 2016, at the age of 93, in Paris. In 2004 his retrospective is exhibited at the Maison Européenne de la Photographie in Paris and visited by 100 000 people. Numerous museums trough Europe, as well as United States, China and Japan regularly show his work. He received many awards, among which two Overseas Press Club, the Time-Life Achievement, the Lucie Award and the ICP Infinity Award.
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