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Francesco Cremonese
Francesco Cremonese
Francesco Cremonese

Francesco Cremonese

Country: Italy
Birth: 1995

Amateur photographer born in 1995 and based in Treviso (Italy), mostly committed to street, documentary and architecture photography. The passion for photography was inherited from his father, also fond of it, while his formation is mostly based on the father's teachings along with selflearning and personal researches, but also on workshops, two under the guidance of the photo-reporter Giulio di Meo, along with seminars and webinars as well. His works were displayed in the "Capture the Moment" exhibition in Budapest, the "Isolation, Living Apart" exhibition in Rome then during the 3 rd CIP festival, and published in the F-STOP magazine and in the anthology book "Trieste, passato, presente, futuro".
 

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Thomas Jorion
France
1976
Thomas Jorion (b. 1976, lives in Paris) photographs urban ruins and condemned buildings, spaces that no longer serve the purposes for which they were built. His work explores the built environment in a state of entropy, inviting viewers to reflect on the relationship between the material and the temporal.My work is based on our perception of time, how it passes and especially its lack of linearity. Some places seem frozen as time passes by. While our society is developing and changing very rapidly, these places are submitted to a distorted passing of time. They seem to be lifeless or in a waking state, although in reality they have their own link with time. I travel the world with one idea in mind, to find and show timeless islands. I choose to enter closed and abandoned places formerly alive, and often places of leisure or prestige to capture and share them. My fascination for the esthetic of abandoned places is the extension of an older tradition. The Romantics enjoyed strolling amidst the ruins of long lost civilizations. Centuries earlier, painters such as François de Nomé (1592 – 1623), Giovanni Battista Piranesi (1720-1778) and Hubert Robert (1733 – 1808) dedicated part of their work to these forgotten places. Somehow my photos are part of this process. The existence of timeless islands stems from a variety of contemporary phenomena. Though each of these islands has a particular origin depending on its location, all eventually evoke the disappearance of men. In Japan, the line between leisure and consumption is often blurry. Leisure activities that are deemed old-fashioned are disposed of – similar to those handkerchiefs, the “nuigishi,” given out for free on the streets by pretty young ladies. An example of this occurence (occurrence – deux R) is the three-storied, 108-lane bowling alley in a Tokyo suburb. Being out of use for some time, it soon is to be demolished. The expansion of new forms of leisure activities has also led to a booming hotel industry. Better and cheaper flight connections and the growing mobility of global citizens made the world a village, with every destination easy to reach. The province of Izu, which used to be a popular summer destination for the Japanese, is now competing with international destinations as in China or Korea. Hotel complexes or amusement parks now open for business or shut their gates according to short-lived trends in the tourism industry. In America the consequences of the economic crisis have been more disastrous than anyone could hardly have imagined. In the vast landscape of the United States, the possibility to build on new land is considered limitless. The habit of constructing new buildings instead of renovating old ones has proven rather catastrophic for the country. The dramatic consequences can be seen in cities such as Detroit MI, where the “white flag” phenomenon has made matters even worse. Other cities, such as Memphis, TN, or Bridgeport, CT have followed suit. Those cities’ entire cultural and social identities have decayed into ruin. The first places to have become useless for society were theaters, movie theaters, sport centers, schools and churches. Health care institutions, public housing, and judicial systems suffered, too… The failure of American Utopias, photographed by Joel Sternfeld in the late 70s, was already heralding deeper phenomena observed today. On the old continent, the reasons are multiple and the consequences are often the same. Struck by a major structural transformation from industrial to post-modern societies many countries had to turn away from their heavy industry. Gigantic textile factories in Northern Italy have completely disappeared, even sumptuous villas of industrialists were forsaken and left to decay. Twenty years after the reunification this development can also be seen in Germany, where factories became completely unsuitable for the global economy and whole regions became deserted due to migration. There is no denying that these abandoned places now cover all continents and in the name of the profit motive tends to amplify this phenomenon. As for my photographic practice, I wish to conserve the rawness of the places that I observe. This represents a challenge. The frame must be arranged in accordance with the layout of the space and the available light. For me, this reinforces the immaculate and timeless aspect of the place. My use of a large format camera allows me to make sharp and detailed images that contain a variety of focal points, textures, and depths. Capturing the richness of such pictures takes much time, which in turn reduces the number of photographs I can take. The choice of color film is important because it anchors the place within the present moment and allows for a faithful rendering of things seen. This eliminates the austere quality of certain spaces. For example, in the Piedmont theater, the blue, yellow, and brown are muted and soft colors, but they correspond well together to reveal a new beauty. Source: www.thomasjorion.com
Oleksandr Rupeta
Ukraine
1981
Oleksandr Rupeta is a documentary photographer from Ukraine working worldwide. He is a member of the Independent Media Trade Union Of Ukraine and the International Federation of Journalists from 2016 and a member of the Ukrainian Association of Professional Photographers and Federation of European Photographers from 2018. As a news and reportage photographer, Oleksandr carries out short and long-term projects about political, cultural, and social life in Europe, Africa, the Middle East, and Asia. His works highlight Ukrainian-Russian conflict, Afghan Red Crescent Society, the life of Iranian Jews community, Sufi Community in Northern Cyprus, people with disabilities in Southern African countries, ethnic minorities in Azerbaijan, LGBT community in the Balkans, elephant conservation in Laos, robotics in Japan, etc. The photos appeared in The New York Times, The Financial Times, The Times, The Guardian, The Economist, Time, Nature, Forbes, National Geographic Traveler and others. His news photos were chosen numerous times as a photo of the day, a photo of the month and a photo of the year in agencies such as NurPhoto, Zuma Press and GettyImages reportage. About Someone in your corner From the middle of the XX century, the tendency of keeping animals as pets has been increased in their number and variety. There are many reasons for this phenomenon. First of all, the technological development improved the overall standard of living. Human attitudes towards animals are becoming of increasing importance and less pragmatic. When a man moves away from nature he begins to use animals as compensation for the lost connection. As a result, animals are engaged in social relations with a human. As family members, pets are changing not only their behavior but also the behavior of the owners. They build complex interdependent relationships. In Ukraine, like the entire post-Soviet space, this tendency has become widespread with gaining independence. Open borders facilitated the transportation of exotic animals and their purchase became quite easy. Keeping unusual animals ceased to be the prerogative of a privileged few. Instead of this came out a problem of the pet owners' ignorance who may have a lack of knowledge of proper exotic pet care. The idea for the project was to explore the mutuality and relationship of the human-animal bond in the modern world, to see and pay attention to the conditions of their interaction and coexistence. The project was created in the summer-fall 2019, throughout Ukraine. The primary eligibility criteria for choosing characters was the exclusion of all occasional owners, zoos, circuses and using animals in entertainment spectacles. But everything turned out to be more complicated than expected. Odd owners often saved their pets from death and mostly they showed true love to the pets. Other characters were chosen from people with a passion for animals. In addition to owning exotic animals as house pets, these people frequently try to link their lives with animals. Some of them organize private or home zoos, some work in pet shops, others try to find work at animal shelters or wildlife sanctuary. The project turned out wider than I planned but each shot in the series elucidates the special human-animal connection.
Geir Tonnessen
Norway
1976
Geir Tønnessen (born in 1976) is a contemporary photographer currently based in Oslo, Norway. He studied photography by himself with some guidance from friends and the Internet. Some of his works have been exhibited in the following galleries: Cyan Studio (Oslo, Norway), Galleri MAP (Oslo, Norway), and Preus Museum (Horten, Norway). "Photography is to have fun and being smart at the same time, which for me is the perfect combination. With my creative fun shots I want to get other people to laugh and inspire them to shoot for them self. With my nature and city shots I want to create a special feeling that makes my viewers think and make them look at my shots for a long quiet time." Interview with Geir Tønnessen All About Photo: When did you realize you wanted to be a photographer? Geir Tønnessen: When i very young realized i had to release my creative urges, and since i am a shitty drawer/painter, photo was my thing! And since i also like to be playful and humorous every day, i had to get it out some way! AAP: Where did you study photography? GT: I studied photography all by myself, spending many hour every day on the net looking at others pictures, by having a father reading art books to me since i was born, by going to a lot go art exhibitions home i Oslo and when visiting other countries and cities all over the world. AAP: How long have you been a photographer? GT: I got my camera when i was about five years old to my birthday from my grandmother. Something i enjoyed very much that time! AAP: What or who inspires you? GT: Other artists that with a lot of creativity and great new ideas. I love to find shoots by others that look like something i never have seen before. AAP: How could you describe your style? GT: My style is not easy to describe but i like to take creative artsy portraits, calm pictures of nature and early morning shots of cities. AAP: What kind of gear do you use? Camera, lens, digital, film? GT: I shoot both digital and analog. When i shoot analog, i use my Hasselblad 500cm with the standard 85mm Carl Zeiss and my Pratica LTL with a 50mm. When i shoot digital i use my Nikon d800 with Nikon NIKKOR 85mm 1:1.4G lens. AAP: Do you spend a lot of time editing your images? GT: I don`t use much time to edit on my computer, i like that my shots can be taken directly from the camera. So i general i just edit the shots just a little bit. AAP: Favorite(s) photographer(s)? GT: My favotite is Martin Parr. AAP: What mistake should a young photographer avoid? GT: Don`t think to much of technique! Just shoot and try to be creative and original! AAP: If you could have taken the photographs of someone else who would it be? GT: Martin Parr AAP: Anything else you would like to share? GT: Shoot first and ask for permission afterwards.
Lynn Karlin
United States
Lynn Karlin's move to Maine after 13 years as a successful commercial photographer in New York City brought her back to her love of fine-art photography. Growing up in Queens, New York, Lynn graduated from Pratt Institute in Brooklyn. Her career took off when she was chosen as the first woman staff photographer for Women's Wear Daily and W, where, day and night, she photographed the rich and famous. Back then, her portraits featured everyone from trendy fashion designers to celebrities. She went on to freelance for the New York Times Magazine, House Beautiful, New York Magazine, Country Living, and other major publications. When Lynn left NYC in 1983 for a new life on a farm in Maine, she helped run a market garden while co-authoring, with Stanley Joseph, the now-classic Maine Farm: A Year of Country Life (Random House, 1991). She also took on assignments for garden magazines, winning awards world-wide. Her life after the farm led her down yet another road photographing the best-selling Gardens Maine Style (Down East Books, 2001), with writer Rebecca Sawyer-Fay. Then, in 2008, after seeing an amazingly beautiful cauliflower at a local farmers' market, Lynn began photographing and styling a series of still-lifes called The Pedestal Series which celebrate vegetables by elevating them to a place of honor-on a pedestal. Thirteen years later she moved from produce back to people after spotting a remarkable young man named Paul, whose ruffled hair and strong features led her in an entirely new direction: Stories in Profile, a series of portraits that have won international competitions and currently show in galleries and private collections from New York to Paris. Stories in Profile Lynn chooses her Stories in Profile subjects for their distinctive features. In these portraits, she celebrates the contours of the face, the qualities of hair, and other prominent traits that render each subject simultaneously elegant and mysterious. Lynn uses natural directional lighting in her studio to highlight topography, creating texture and dynamics and giving her work the painterly feel of 17thcentury master painters. This soft, directional light has an unpredictability that is energizing and keeps her alert and focused. While shooting, Lynn concentrates on design, form, light, and negative space as she reaches for a story to emerge through the profile of her human subjects. As a photographer, the more limited constraints of a profile are challenging. One senses a person's courage and vulnerabilities. She seeks to capture a personality distilled to its strongest form. Rarely do we look at others, or ourselves, from this side view. Each profile is a discovery as she sets out to record the moment when her subject's inner self emerges, direct and stunning.
Burt Glinn
United States
1925 | † 2008
Born in Pittsburgh, Pennsylvania, Burt Glinn served in the United States Army between 1943 and 1946 before studying literature at Harvard University where he edited and photographed for the Harvard Crimson college newspaper. From 1949 to 1950, Glinn worked for Life magazine before becoming a freelancer. Glinn became an associate member of Magnum in 1951 along with Eve Arnold and Dennis Stock - the first Americans to join the young photo agency - and a full member in 1954. He made his mark with spectacular color series on the South Seas. Japan, Russia, Mexico and California. In 1959 he received the Mathew Brady Award for Magazine Photographer of the Year from the University of Missouri. In collaboration with the writer Laurens van der Post, Glinn published A Portrait of All the Russias and A Portrait of Japan. His reportages have appeared in Esquire, Geo, Travel and Leisure, Fortune, Life and Paris-Match. He has covered the Sinai War, the US Marine invasion of Lebanon and Fidel Castro's takeover of Cuba. In the 1990's he completed an extensive photo essay on the topic of medical science. Versatile and technically brilliant, Glinn was one of Magnum's great corporate and advertising photographers. He received numerous awards for his editorial and commercial photography, including the Best Book of Photographic Reporting from Abroad from the Overseas Press Club and the Best Print Ad of the Year from the Art Directors Club of New York. Glinn served as president of ASMP from 1980 - 1981. Between 1972 and 1975 he was president of Magnum, and was re-elected to the post in 1987. In 1981, Burt married Elena Prohaska and their son Samuel Pierson Glinn was born in 1982. Source: burtglinn.com
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