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Patrick Zachmann
Patrick Zachmann

Patrick Zachmann

Country: France
Birth: 1955

Patrick Zachmann, born on November 21, 1955, is a renowned French photographer and filmmaker acclaimed for his insightful documentation of cultural and social issues. With a career spanning decades, he has become synonymous with the Magnum Photos agency, a prestigious cooperative of photographers.

Zachmann's journey into photography began in the 1970s. He initially pursued studies in cinema at the University of Paris, but it was during a trip to New York in 1976 that he discovered his passion for still imagery. Captivated by the bustling streets and diverse communities, he decided to shift his focus to photography.

In 1982, Patrick Zachmann joined Magnum Photos, a cooperative founded by legendary photographers like Robert Capa and Henri Cartier-Bresson. This association marked a turning point in his career, providing a platform for his distinctive visual storytelling.

I became a photographer because I have no memory. Photography allows me to reconstruct the family albums I never had, the missing images becoming the engine of my research. My contact sheets are my personal diary.

– Patrick Zachmann


A significant chapter in Zachmann's portfolio is his work on the Chinese diaspora. In the 1980s, he embarked on an extensive project documenting the lives of the Chinese community in various countries, exploring themes of identity, migration, and cultural adaptation. His empathetic lens captured the struggles and triumphs of individuals within this global diaspora, resulting in a powerful body of work.

One of Zachmann's notable projects is Wén, a documentary that delves into the life of a Chinese family living in France. This intimate portrayal earned him widespread acclaim for his ability to navigate complex narratives with sensitivity and depth. The project exemplifies Zachmann's commitment to shedding light on marginalized stories and fostering cross-cultural understanding.

Throughout his career, Zachmann has covered significant historical events. He documented the fall of the Berlin Wall in 1989, capturing the emotions and reactions of individuals on both sides of this momentous divide. His work during the Tiananmen Square protests in 1989 further solidified his reputation as a photojournalist with an acute sense of social responsibility.

Beyond his photojournalistic endeavors, Patrick Zachmann has explored personal and introspective themes. His project My Father's Testimony is a poignant reflection on his own family history, incorporating photographs, letters, and personal artifacts to create a visual narrative that transcends individual experiences to resonate on a universal level.

In addition to his photographic pursuits, Zachmann has ventured into filmmaking. His documentary China, the Empire of Art? offers a nuanced exploration of China's contemporary art scene, reflecting his multifaceted approach to storytelling.

Patrick Zachmann's contributions to photography have earned him numerous accolades, including the prestigious Nadar Award in 1993 and the World Press Photo Award in 1994. His work has been exhibited in major galleries and museums worldwide, solidifying his place as a respected documentarian and storyteller.

As he continues to explore new facets of visual storytelling, Patrick Zachmann's enduring commitment to capturing the human experience with authenticity and empathy underscores the timeless relevance of his work in the realm of documentary photography and filmmaking.

Selected Books on Available on Amazon
Patrick Zachmann: Voyages de mémoire
Patrick Zachmann: Voyages de mémoire
Patrick Zachmann
Patrick Zachmann: So Long, China
Patrick Zachmann: So Long, China
Patrick Zachmann

Agency

Magnum Photos

Galleries

CLAIRbyKahn

Beaugeste Gallery

Website

@pzachmann

 

Patrick Zachmann's Video

Selected Books

Patrick Zachmann: Voyages de mémoire
Patrick Zachmann: Voyages de mémoire
Patrick Zachmann
Patrick Zachmann: So Long, China
Patrick Zachmann: So Long, China
Patrick Zachmann

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More Great Photographers To Discover

Colby Deal
Colby Deal
United States
1988
Colby Deal is a photographic artist born (b. 1988) and raised in Houston, Texas. He received his Bachelor of Fine Arts in the practice of photography from The University of Houston. Within his practice, he explores the culmination of elements of the psychological environment as well as the physical. He shows the dynamic range of family, community and the individual by combining street photography and portraiture to capture vibrant communities. In recent years he has incorporated the medium of sculpture and public art as a means of preserving cultural characteristics that are being erased and positively influencing his community and others alike. Colby is directly inspired by his upbringing through getting to see his family’s photographs that were mostly taken by his father. This appreciation for slowing down and concentrating on photographing what’s right in front of him, “The Now”, has led him to be more in touch with using analog photography. Colby Deal is an alumni of Project Row Houses residency, Red Line Contemporary Art Center residency in Denver, Colorado and in 2020, was awarded an exhibition at the Houston Museum of African American Culture. Colby became a Magnum nominee member in 2020.Source: Magnum Photos Colby Deal is a firm believer in the potential of photography to be a transformative medium. “Especially now with Covid and how it is separating people, imagery is so important” he says, over video call from outside his home in Houston’s Third Ward, where he has been photographing with the intention to uplift cultural representations of the predominantly Black neighborhood. “People of color and people from under-resourced communities are always shown negative images about themselves,” says Deal, whose practice involves pasting his images onto abandoned buildings and derelict shopfronts. “Imagine being a kid, waking up, getting on the school bus, and seeing yourself displayed monumentally in a positive manner. That can have a strong psychological effect on the way you think about yourself and others. Like seriously, just a glance at an image can change your thought patterns — it can change your whole life.” Adopting a participatory approach, Deal’s process involves a lot of talking and walking. On a typical day, he will drag his large format camera on a wagon, stopping at people’s doorsteps and porches for a drink, smoke, and conversation, about their lives and the condition of their community. “I don’t want to call it a story because I sound like a fucking news reporter,” he laughs, “but what I’ll do is walk around, find things I like, and shoot around it”. The culmination of these excursions is Beautiful, Still, an ongoing collection of over 1,000 black-and-white negatives of street photographs and portraits. The ability to layer these historical, personal, and social contexts in a single image can be cited back to Deal’s childhood and evolution as an artist. Deal was initially self-taught, later enrolling in the Photography BFA at The University of Houston, mostly for “the network,” he says, and to “learn how to better articulate what I was doing”. The documentary photographer, who last month became a Magnum nominee, is also a sculptor, carpenter, graphic designer, and painter. “As a child, everything I found joy in was about art,” says Deal, who was drawing from the age of three, and later developed an obsession with breaking down objects and piecing them back together. “That aspect has played a huge part in what I do today, which is looking at an idea, concept, or message that I want to get across, then starting from the root, and working from there.”Source: British Journal of Photography
Navid Memar
Navid Memar
Iran
1996
Navid Memar is a Tehran-based artist who has had experience as an director and designer. He is working on post-dramatic and space-making in art. His main interest in art is on illustrating base. Navid Memar is working in different tendencies such as architecture, visual arts like collage, sculpture, short film, video art, and theatre. He has had many influences from Romeo Castellucci, and he produces his own plays about the theatre ideology of Romeo Castellocci. Of course, in combination with Iranian elements and his personal ideology from "amata studio". He spent his childhood and youth in Kashan and has a special interest in Iran's history and native culture and Iranian writers. He is studying directing in Tehran University Fine arts. In 2015 he established a studio named Amata. Since then he starts his professional work. Statement " 'افلا تتفکرون' means 'Do you not think?' It is a part of a Quranic verse. This name invites the audience to think independently in each frame, regardless of the overall issue of the collection. And each audience can build their mental world according to the signs they see in the photo. 'افلا تتفکرون' collection is the narrative of creation through paintings related to each event in a historic men's public bath that has been turned into a museum. Baths are in direct contact with the body. My approach to the narrative of creation has been a combination of the views of Islam and Christianity in this regard. In this collection, a look is taken at the issue of women's absence in the first Qajar family photos, as an example of which I have addressed the issue of women's absence in public baths. The alternative was a baby girl instead of a wife / Eve. In most frames, the presence of paintings helps to narrate and emphasize the signs. And give us this It informs that the problem of creation has been repeated again and again and this process will continue." -- Navid Memar
Horst P. Horst
Horst P. Horst
Germany/United States
1906 | † 1999
Horst P. Horst (born Horst Paul Albert Bohrmann), was a German-American fashion photographer. The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant. In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model, and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle. His first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie. Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades. He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. Horst adopted a son, Richard J. Horst, whom they raised together. In 1941, Horst applied for United States citizenship. In 1942, he passed an Army physical, and joined the Army on July 2, 1943. On October 21, he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene. Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is "The Mainbocher Corset" with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of "The Mainbocher Corset" as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty. Lighting is more complex than one thinks. There appears to be only one source of light. But there were actually reflectors and other spotlights. I really don’t know how I did it. 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He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work. One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity. In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Lee Radziwill, Duke of Windsor and Duchess of Windsor, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster, Yves Saint Laurent, Doris Duke, Emilio Pucci, Cy Twombly, Billy Baldwin, Jacqueline Kennedy Onassis, Amanda Burden, Paloma Picasso and Comtesse Jacqueline de Ribes. The articles were written by the photographer's longtime companion, Valentine Lawford, a former English diplomat. From this point until nearly the time of his death, Horst spent most of his time traveling and photographing. In the mid-1970s, he began working for House & Garden magazine as well as for Vogue. Horst's last photograph for British Vogue was in 1991 with Princess Michael of Kent, shown against a background of tapestry and wearing a tiara belonging to her mother-in-law, Princess Marina, who he had photographed in 1934. He died at his home in Palm Beach Gardens, Florida at 93 years of age.Source: Wikipedia I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal. -- Horst P. Horst
Karine Coll
Karine Coll
France
1973
Madly in love with the arts in the broad sense, greedy for words, stories, eager for esthetic experiences, passionate about theater, writing, full-time professor of letters, photographer-poet in my spare time, human being forever, Woman above all. For me, photography is the medium that allows me to get down to the essence of things, a three-step frenzied waltz in which scenography, esthetics and text all come together to create a powerful message. Driven by a desire to delve deep into the possible, i see the photo as responding to a need to go straight to the soul, with all its diversity of approaches, a way of looking at the body as a sculptured tool, a fragment of a human being, as a dreamlike narration, pictorial reality, the shots linked but not all alike, a perpetual exploration of the possible, malleable according to my desires, giving rise to sensation, to hypersensitivity. Fragments The hands, the hands as witnesses of a too long forgotten body, metonymic fragments of a neglected soul, given as food to the monster lurking in the shadows. The hands which twist in silence, those which counter blows, which protect themselves, those which heal wounds in the half-light without ever daring, cruel pantomime smothered in the hollow of a fist. A black and white, dark, realistic series featuring hands, in close-up, the body is erased, the hands alone carry the message. The image is soiled, a grain comes to invade the cliché, to soil it, drowning all humanity, all femininity. Silence, taboo, shut up! Suddenly, the hands are there, referees of the last chance, standing up timidly in a final attempt, the last ramparts against hatred ... do not lower your guard, stand up, the hands finally come together, ally because together they make sense. A glimmer of hope that seeps through clenched fingers, gradually the woman regains body, the fist crushes in an act of assumed resistance, an unexpected force at hand, carried by a desire to wake up the sorority of all . Peaux d'ombre Because the body is only a conception of the mind, a fantasy projection of our eye, erotic or plastic mass, the body dissolves in the image, becomes a play of curves, a chimera. It is in the shadow of time that the male body reveals its power, sublimating our shadow areas.
Rip Hopkins
Rip Hopkins
United Kingdom
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Born in England in 1972, Rip Hopkins studied industrial design at ENSCI (Ecole Nationale Supérieure de Création Industrielle) in Paris. Working with Médecins Sans Frontières (Doctors Without Borders) he has made photoreportages and documentaries in numerous countries including South Sudan, Bosnia, Liberia, Uganda, Ingushetia, and East Timor. He joined Agence VU in 1996 and the following year received the Mosaïque Scholarship, the Kodak Young Photo-Reporter Award, the Observer Hodge Award and the Monographies Prize. In 2000, he was awarded the Fondation Hachette Scholarship to pursue his photographic work in Tajikistan. This led to his receiving the 2002 Fondation HSBC Award and the publication of Tajikistan Weaving (Actes Sud Editions). His book Displaced (Textuel Editions 2004) was produced with the support of the FIACRE Scholarship. Hopkins started photography when he was ten years old. It is his way of recording and documenting moments of his life and those of others. He sees photography as a tool presenting vast possibilities for intellectual and aesthetic expression. He combines his personal art work with the necessity of making a living, thus drawing on various means of support such as exhibitions, books, press work and films. This produces an on-going cycle: if a person sees a photograph then they know that it exists, so they can buy it, so the photographer can produce work and survive. So what is a photographer exactly? Ethnographer, artist, advertiser, teacher, crook, journalist, artistic director? Few professions are so diverse and so vague. A photographer is constantly confronted with questions such as: what is an image today? How long will it survive? How should it be made? Who wants it? What technique should be used? Should there be a point of view or a stand point? With each new project Rip asks himself these questions again and re-evaluates his role in today’s world. Rip Hopkins is a member of Agence Vu and is represented by Galerie Le Réverbère and by LT2. Source: www.riphopkins.com
Jean-Mathieu Saponaro
Jean-Mathieu Saponaro
France
1990
Born and raised in Provence, Southern France, Jean-Mathieu Saponaro is living between Paris and New York. Being a software engineer, photography is his way of freeing his mind out of lines of code. Color plays a main role in his work. Like painters gradually create their own unique palette, J.M. steals colors in fragments of life around him, found in streets he wanders, on the roads he drives on. He's on a quest to find aesthetics on the most common scenes or objects encountered that other wouldn't notice. His work has been exhibited in Paris, Aix-en-Provence, and featured in many magazines.
Nhien Hong Do
Nhien Hong Do
Vietnam
1962
I got into street photography as a passion after long days of work. I started exploring it in 2016, and I’ve found that street photography allows me to tell daily stories through images, capturing people with my vision and emotions. It’s about seeing each character through my lens and presenting them in a carefully chosen frame. I don’t focus too much on the technical side of my Fujifilm camera; instead, I focus intensely on discovering something unique or even unsettling in each person’s character to convey a story. Street photography brings me joy by letting me capture fleeting moments that reveal something about the people in my images. Over time, I’ve learned a lot by studying photo books and award-winning photography. I take time to appreciate each photo from other photographers, often wondering, "How did they capture this? What made them choose this specific moment?" Through this reflection, I realized that every photographer has their own way of seeing and capturing street life, and I respect their individual approaches. I’ve adopted bits of their skills into my work, but instead of copying, I’ve built my own unique style. In the end, my goal is to create street life photography that brings what I see to your soul. My talent in street photography has been recognized and featured in several publications and exhibitions. My work captures the essence of urban life and has found its place in notable books and projects dedicated to the art of street photography. In 2023, my photography was included in Urban Unveils the City and Its Secrets – Volume 08, a project by the Urban Photo Awards in Italy, which highlights the hidden sides of urban landscapes. In 2017, I was featured in Soul of Street – Volume 12, published by Photography & Philosophy Magazine in Germany, showcasing street photography that resonates with human stories and philosophical insights. That same year, my work was included in Street Photography in the World – Volume 1, a collection from Italy celebrating street photography from across the globe. Back in 2016, I contributed to Street Photography from Around the Globe in collaboration with the We Street collective, a project dedicated to street photographers worldwide. Additionally, in 2016, I had the opportunity to exhibit my work in Bucharest, Romania, where my photographs were displayed as part of a curated exhibition. Awarded Photographer of the Week - Week 46
Ulka Chauhan
Ulka Chauhan
India
1976
Street and documentary photographer Ulka Chauhan grew up in Mumbai, finished high school in Switzerland, college in Boston and lived and worked in New York and South Africa before anchoring herself in Zurich and Mumbai. These varied geographies come together to inform her work and shape her visual language. While the terrain of her photographic practice is vast, a large body of Ulka's images chronicles life across Switzerland and India. She moves with an ease between the two starkly different worlds, seeing them with 'fresh eyes' every time she visits. Ulka uses her own voice to tell stories inspired by the two diverse spaces she occupies. Time and space are bystanders in her images as she moves literally and metaphorically between the linear structured world of Switzerland and the cyclical and chaotic world of India. Her style morphs fluidly with her choice of subject. Using a minimalist narrative, there is an artistic reduction to her compositions as she focuses on just the essential elements to make us look at old things in new ways. Ulka Chauhan is the sum of all her parts; being rooted on two grounds contouring her identity and compassionate world view. Her camera is the lens through which she sees the world, and in the process, herself. A Thousand Dreams
Mathieu Forget
Mathieu Forget
France
1989
Mathieu Forget, also known as Forgetmat, is a Paris-born movement artist, dancer, photographer, and director whose innovative work captures the essence of dance in mesmerizing visuals. A former tennis player, he channels his passion for freedom of expression into art that challenges conventional perceptions of the world. Known as the "Flying Man," Mathieu has gained recognition for his ability to freeze moments of seemingly gravity-defying movement through his photography and videos. His work blurs the boundaries between art forms, mixing dance, architecture, and visual storytelling in a unique way. By sharing his creations on social media, he has democratized his art, turning the world into his gallery.. Deeply inspired by architecture, lines, and colors, Mathieu transforms everyday spaces into poetic landscapes, creating breathtaking visual experiences that play with balance, form, and movement. He has collaborated with a diverse range of artists, athletes, and global brands, continually pushing creative boundaries.. Most recently, Mathieu partnered with the Paris 2024 Olympic Games, working alongside athletes to bring his signature levitation artistry to the world of sports, capturing dynamic moments that seem to defy the laws of physics.
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