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Marlou Pulles
Marlou Pulles
Marlou Pulles

Marlou Pulles

Country: Netherlands
Birth: 1965

Marlou Pulles is an Amsterdam City photographer, who explores themes of stillness and awareness. She studied Art History at the University of Utrecht, with a specialization in Dutch paintings of the 17th century. Inspired by the classical beauty of the food still-lifes of the famous painter Adriaen Coorte, she wanted to create images herself. She graduated in 2012 from Photography School Statief in Utrecht. Her still-lifes are aesthetic explorations of daily life objects.
Placing the objects in an unconventional way, they become alive.

About Shaping Blocks
The abstract compositions she created consist of handmade wooden blocks from India, which are usually used as craft pieces for printing on textiles. Hit by the geometric beauty of these so called 'blockprints', which were designed by Nathalie Cassee , she searched in this series for balanced compositions.
Playing with shapes, lines, colors and depth she wants to make still-lifes, that forces you to take your time and to see the individual elements in a different way. The compositions seem to float, and are constructed like collages. The movement that arises connects the blocks and the new aesthetic shapes radiate tranquility.

Website

www.puurpulles.nl

 

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More Great Photographers To Discover

Tamara Reynolds
Tamara Reynolds
United States
Tamara Reynolds is a documentary photographer whose unflinching eye considers what it means to be human in today’s society. In particular, her work focuses on the lives of those who are usually unseen. Reynolds’ photobook The Drake was published and released by Dewi Lewis in early 2022. The work — portraits, still lifes and streetscapes that document the lives of people existing just above survival on one square block around a motel in Nashville, Tennessee — has received numerous honors, including a 2021 Guggenheim Fellowship, the 2021 BarTur Photo Award, a 2020 Puffin Grant, the 2019 Tennessee Arts Commission Individual Artist Grant and the Santa Fe Center 2018 Project Launch Grant. Reynolds’ acclaimed earlier body of work, Southern Route, which explores issues of identity, conflict and the disappearing culture of the South, was included in Southbound, a traveling exhibition and book curated by Mark Sloan and Mark Long of Halsey Institute of Contemporary Art, with support from the NEA and the Robert Mapplethorpe Foundation. In addition to numerous exhibitions around the country, Reynolds’ photographs have been featured on the New York Times Lens Blog, PBS News Hour, Lenscratch, Strange Fire Collective, Photo-Emphasis, Oxford American and FotoRoom, among others. Her images have also been published in Ain’t Bad, American Photography 29, 30 and 33, Oxford American Magazine: Eyes on the South, Communication Arts and All About Photos and are in the public collections such as The Do Good Fund and Cassilhaus. In 2017, she received a Master of Fine Arts from the University of Hartford, where she graduated with honors. She holds a Bachelor of Fine Arts from Middle Tennessee State University where she was recently inducted to their Wall of Fame. Reynolds has been a guest lecturer at George Fox University, Middle Tennesse University, Vanderbilt University, the Montgomery Museum of Fine Arts, Cassilhaus Gallery, the Halsey Institute of Contemporary Art and Morris Museum of Fine Art. Prior to her current work in documentary photography, Reynolds has worked as a commercial photographer for over 30 years. Her work has appeared in many national publications including NBC News, Bloomberg Businessweek, Forbes, The New York Times Magazine and The Wall Street Journal to name only a few and has been part of numerous national advertising campaigns. Along with working as an editorial photographer, she currently teaches as a Lecturer at Vanderbilt University and Adjunct Professor at Belmont University. Tamara Reynolds was born in Nashville, Tennessee, and has lived there all her life. The Drake he Drake is a series of portraits, still lifes and streetscapes that document the lives of people existing just above survival on one square block around a motel in Nashville, Tennessee. The Drake Motel is located in an area ignored by developers, a microcosm of the disregarded or resentfully tolerated. Alcohol and drug addiction are prevalent among those who live in its shadow. Prostitution, panhandling and day labor have become ways to maintain addiction. The Drake offers a means to delve deeply into a world far removed from my own but also perilously close — how my life might have looked had I not found the resources that led me to recovery. The work continuously challenges my concept of empathy and how to photograph my subjects in such a way as to make the unseen seen. I am passionate in my intent to push back against a society of increasing culturally endorsed behavior to not acknowledge the marginalized. These are not easy pictures, but my hope is that the images give space for viewers to move closer, to enter the stillness of the photographs and consider the lives of those looking back.
Liam Man
Liam Man
United Kingdom
Liam Man is a Sony Imaging Ambassador and master of aerial light-painting, based in the United Kingdom. By illuminating landscapes at night, he transforms the darkness into his canvas, upon which he uncovers hidden textures and contours that would be invisible during the day. Each photograph is meticulously crafted into a surreal impression of the Earth, while remaining firmly grounded in reality. A keen explorer and environmentalist. Liam’s recent work combines artistry with advocacy and offers a vision of the world that highlights its fragile beauty while inviting viewers to consider their relationship with the environment. His images are a call to action, leaving an enduring impact on all who encounter it. Statement: By showcasing places in a new light, I hope to shift people’s perspectives. To see incredible destinations as more than just backgrounds for social media. My creative process is deeply intentional, involving days immersed in remote environments observing how light interacts with the terrain. Only when I truly understand my subject do I begin to "paint" the scene with aerial lighting rigs. A process of discovery, I love finding unusual shapes in the shadows.
Zev Hoover
Zev Hoover
United States
1999
Zev Hoover, from Natick, Massachusetts, goes by the Flickr username Fiddle Oak, a play on 'little folk', which adequately describes the incredible images that make up his 'miniature world'. In his fantastical photos in which people are digitally shrunken, acorns make excellent seats, Popsicle sticks are the ideal size for building rafts, and paper airplanes are viable modes of transport. Zev told Today.com that while he takes the photos with his own camera, his older sister Nell, 18, was the brains behind the original tiny people concept. "She is sort of my partner in crime," he said, adding that she is "more of a writer". While Nell may have come up with the idea, Zev executes the images beautifully, and his unique work has attracted the attention of professional photographers and designers. The 14-year-old, who also writes a blog, explained the complicated process of how he creates his dreamlike images, many of which feature him as the main subject. The process involves capturing the background image first, shrinking photos of people in similar lighting, manipulating the images in Photoshop and editing the color scheme so that it all matches. 'It takes a long time,' he said of the resulting images, which are so otherworldly that they almost look like drawings. One image shows a boy constructing a house of playing cards, his body the same size as the cards. In another image, a 'miniature' boy and girl sit upon a raft made of Popsicle sticks, the sail of which is a single leaf. Many of Zev's images explore nature, including one in which a boy perches inside the shell of an acorn. Another nature-themed photo, which plays with and distorts size ratio, shows a miniscule-looking boy sitting on the edge of a rock, a violin in his hand. Photography and design websites have picked up on Zev's work, lauding him for being so talented and creative at such a young age.Source: www.dailymail.co.uk
Gavin Smart
Gavin Smart
United Kingdom
Gavin is an award winning freelance photographer and digital assistant based in Edinburgh, working throughout the UK and beyond. He originally trained as a classical and jazz musician at London's Guildhall School of Music, before moving to Paris as an artisan baker, working with leading French boulangerie Eric Kayser. His photographic work is as diverse as his background, bringing together many creative elements in his work. He draws particular inspiration from the art, design and photography that he was exposed to during his time in Paris. Working with people from all walks of life, Gavin enjoys capturing unique stories with authenticity, sensitivity and creative flair. Gavins' work has been widely exhibited, with highlights this year including the Royal Scottish Academy of Art at Edinburgh's National Gallery, and the Royal Ulster Academy of Art in Belfast, and the Royal West Academy in Bristol. He has won a number of awards in the UK and beyond, highlights of which include the BIPP Student Photographer of the Year 2017, MPA Student Photographer of the Year 2018, and finalist in the 2017 AOP Awards.
Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Carlos Antonorsi
Carlos Antonorsi
Venezuela/United States
1958
Born in Caracas, Venezuela of Corsican and British descent, I have always considered myself a citizen of the world. At 16 years of age left to Vancouver Island, Canada for college and then on to England for university; ended up in Greece for 17 years, and the last few years have been living in Miami, USA Having been born with what feels like ten thumbs for fingers, photography has become the means to express my artistic stirrings; with light and colors as the canvas, I attempt to paint that breath of time which will never be again. Street photography has been my passion for the last few years, light and shadows intrigue me; Miami and its colors have definitely influenced what I see through the lens...the never ending learning process just goes on...Yes, photography has got me hooked...
Ken Hermann
Ken Hermann
Denmark
Based in Copenhagen, Ken Hermann possesses a natural urge to explore photography and world alike. He has traveled extensively, from secluded regions of India and Ethiopia to modern metropolises like New York. From every location, no matter how small or large, Hermann draws energy and inspiration; exploration of people, culture, and life is a central facet to his work, which is full of texture, volume, and atmosphere. From these experiences, he applies a cosmpolitan aesthetic to his commercial and editorial work. He is the winner of Hasselblad Masters 2012 for his City Surfer work.About Survivors:The true face of a victim.Every year people in Bangladesh are disfigured beyond recognition by acid attacks. The victims are literally scarred for life. Stigmatization follows, and rebuilding life and setting new goals for the future require both determination and strength. Most acid attacks are directed against women and children. Since 1999, more than 3,100 people in Bangladesh have been disfigured by acid. Thanks to the advocacy work done by the Dhaka-based NGO Acid Survivor Foundation only 71 cases was recorded last year – a reduction by almost 85% from just 10 years ago. The vast majority of victims are young women under the age of 35 who are mutilated by men they already know. Typically, attacks are motivated by suspicions of infidelity, rejection of marriage offers, demands for dowry, and disputes over land. One in four victims is a child.SURVIVORS is a story about people, not victims.
Mam’AT
Mam'AT
France
1970
Born in 1970 in France, Mam'AT was initially a researcher in economics before leaving it all behind to settle in a tiny, remote village in the mountains of central France (Cantal) and dedicate herself to photography. She works on landscapes and their perception. These are not dreamy landscapes with majestic reliefs and/or flamboyant colors; on the contrary, the atmospheres are dull, gray, white, cold, and the landscapes are ordinary. A simple fence, a road, a tree, or a buron is enough to catch her photographic eye. Mam'AT is not a photographer who travels the world. She photographs close to home and always when the weather conditions are unfavorable: snow, fog, and rain transform the world, making it more poetic or dramatic. How can we achieve the "Sharawadji," that is, reveal an aesthetic within these chaotic atmospheric conditions? That is the question at the heart of her photographic work. With climate change, Mam'AT's photographs may serve as a record of the last snowfalls in Cantal, the mid-altitude mountain range in France where she lives. Statement In all of her work, Mam'At strives to bring out of (meteorological) chaos an order beyond the visible ; to reach “ Sharawadji “(the moment when beauty and plenitude are born from apparent disorder). The choice of color (series « colorité » or « last snow ») or black and white (series « on the road » or « Apology of the Clouds ») is decisive. It is not neutral and influences the perception of the landscape, making it poetic or dramatic, epic or prosaic. It is then up to the viewer to let themselves be carried beyond the visible. Awarded Photographer of the Week - Week 51
Alessandra Sanguinetti
Alessandra Sanguinetti
United States
1968
Alessandra Sanguinetti is an American photographer. A number of her works have been published and she is a member of Magnum Photos. She has received multiple awards and grants, including the esteemed Guggenheim Fellowship. Her first solo show in the United States was in 2005 at Yossi Milo. Born in New York City, Sanguinetti moved to Argentina at the age of two and lived there until 2003. Currently, she lives in San Francisco, California. Her main bodies of work are The Adventures of Guille and Belinda and the Enigmatic Meaning of their dreams twenty + years long documentary photography project about two cousins—Guillermina and Belinda—as they grow up in the countryside of Buenos Aires; On the Sixth Day which explores the cycle of life and death as through farm animals lives; Sorry Welcome, a meditative journal on her family life; Le Gendarme sur la Colline, documenting a road trip through France in 2018. She has been a member of Magnum Photos since 2007 and is a Magnum Workshop teacher.Source: Wikipedia An ICP graduate, she began a series of works in 1999 about the relationship between two nine-year-old cousins, Belinda and Guille, who live on a farm outside of Buenos Aries. Sanguinetti photographed them for ten years, charting their evolution from girls to young women. The girls collaborated with Sanguinetti on the series, The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams, to construct images that evoke the fantasies and fears that accompany the physical and psychological transition from childhood to adulthood. The photographs use costumes and props, as well as references to art and literature, to explore the diffuse boundary between fantasy and reality. As the girls age, the photographs become more meditative as they start exploring their adult lives. Sanguinetti is a member of Magnum Photos, and her photographs are held in museums including the Museum of Modern Art; the Museum of Fine Arts Boston; the Museum of Fine Arts Houston; and the San Francisco Museum of Modern Art.Source: International Center of Photography "I was born in NYC in 1968. Two years after that, my family and I moved to Buenos Aires, where I grew up, worked and lived until 2002. I'm based in California now. I've been a photographer since I'm ten years old and made half of my work in a small area 200 km south of Buenos Aires. I've also made and are making work in many other parts of the world. To do so, I've had the support of the Guggenheim Foundation, The Hasselblad Foundation, the National Fund for the Arts of Argentina, the Harvard Peabody Museum/Robert Gardner Foundation, the Aperture/Hermes Foundation, the MacDowell Colony, and the John Gutman, Alicia Paterson and the Magnum Foundation."
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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