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Yulia Nevskaya
Yulia Nevskaya
Yulia Nevskaya

Yulia Nevskaya

Country: Russian Federation
Birth: 1986

Yulia Nevskaya is a documentary photographer and photojournalist from Moscow. For her, photography is a way to tell people's stories and talk about the problems they face throughout Russia.

Yulia works on her own projects and materials ordered by the editorials. In recent years, the key topics for her have been the problem of preserving cultural heritage, ecology, as well as pressing social issues. In her projects, she explores the connection between person and place, the formation and preservation of cultural codes, as well as the principles of organization and functioning of communities of people tied to the territory. Yulia is a member of the international association "Women Photograph". Collaborates with leading Russian and foreign editorials, including National Geographic (Rus), Reporterre (Fr), Liberation (Fr) and others. Since 2020, she has been working in parallel as a producer, screenwriter and director of projects in the format of video journalism, and also teaches her own course "Algorithms for creating documentary photo stories".

"I am sure that documentary is a profession that can only be chosen for love. You just feel the inner urge to hit the road and tell stories. And you do it because you cannot but do it".

Websites

yulianevskaya.com

@jul.nevskaya

 

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Syed Mahabubul Kader
Syed Mahabubul Kader
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Syed Mahabubul Kader, born and brought up in Dhaka, Bangladesh. I am an independent photojournalist with a 14-year career documenting political issues, social issues and cultural events. As a contributing photographer at Zuma Press, my work has been featured in major publications worldwide, including National Geographic, The Mail, The Times, The Courier, The Guardian, The Wall Street Journal, La Vie Magazine and many others. My award-winning images have been exhibited globally, showcasing my dedication to capturing the essence of human experience.
Matthew Portch
Matthew Portch
United Kingdom
1970
I was born and raised in Bristol, England through the '70s and '80s in a typical suburb. As a child, television and movies were my favourite distraction, especially anything from the United States. The backdrop of the North American scenery felt like an exotic antidote to the humdrum of the English city suburbs and countryside. I was a keen illustrator spending hours pouring over the minutia of the subject matter. I wanted my drawings to feel as close to reality as possible. This work saw me enrolled in college at a young age where I studied Photography and Graphic Design. Drawing on my childhood memories, the visuals of the American landscape remained a major influence on my photography. I became inspired by North American photographers of the '60s and '70s who were prevalent in using large format film. This laborious system of capture enhanced these seemingly ordinary looking street scenes and vistas with fastidious detail. I discovered a more modern process in the form of a technical camera, digital back, and precision optics, then proceeded to cast my own journey. I like my pictures to be aesthetically simple, clean and graphic, which resonates with my background in design. I prefer the images to retain an air of perplexity, so keeping them free of people and any notable present-day object helps suspend them in a moment in time. As with most large format photography techniques, when I photograph a scene I capture everything across the frame in complete focus. This can lend a heightened sense of reality. Given each picture is deliberately simple and mundane – the detail of the capture is just as important as the subject matter and becomes a character of the image in itself. I use the full size of the sensor and prefer not to crop. Restricting myself to this discipline is almost a digital reverence to large format film. My creative vision is to capture a calm and melancholic disposition in the landscape and create a scene of discernible simplicity to evoke an emotional and response from within. About Lost America Lost America examines a quiet stillness in a forgotten landscape that is, in a sense: 'on-pause'. Backwater towns and rural corners are juxtaposed with the ambiguity of detached suburbia. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in their appearance, the images aim to unlock a moment of reflective contemplation and instil a melancholic feeling of familiarity. One might not notice or acknowledge these spaces, especially when viewed within the vast stretch of America's panorama. Yet, when framed as a single vignette, the places can appear to echo a moment of mournful reverie. Or, for some, they might behold an alluringly sombre, everlasting impression.
Gabriele Viertel
Gabriele Viertel
Germany
German fine art photographer, born near Cologne, Gabriele Viertel now lives and works in Eindhoven, Netherlands. She grew up as the youngest of 3 children in a rural area with an extended family of aunts, uncles and cousins. Inspired by her father, an avid filmmaker and amateur photographer, she took for the first time at the age of 14 his analogue camera to photograph the children of the family. During the education in technical design, she worked as a model to fund the studie. Completed the degree, Gabriele decided to move on to pursue the international career as a model and worked more than a decade for designers such as Dior and Karl Lagerfeld. Since 2008 she dedicated herself entirely to the art of photography as a freelance artist. Conceptually, Viertel's images play with the dialog between the mediums of painting and photography. The magical, often surreal pictorial language and the chiaroscuro light are characteristic means of expression. The major part of her works is staged underwater. Gabriele has received numerous awards, most recently the platin award of Graphis New York, the gold medal of the International Color Award, the silver medal of Prix de la Photographie Paris as well as the Merit Award of Best of Contemporary Photography, Fort Wayne Museum of Art. Her work has been featured in international exhibitions and publications in Europe and North America, notably the Museum of Art Fort Wayne and the Heritage Municipal Museum Malaga. One book on her work has been published by Associazione Artistico Culturale Cameraraw.it. Gabriele's works are in the public collections of the Fort Wayne Museum of Art, Indiana USA and the University of Art, Rotterdam NL as well as in various private collections.
Andreas Feininger
Andreas Feininger
United States
1906 | † 1999
Andreas Bernhard Lyonel Feininger (December 27, 1906 - February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-white scenes of Manhattan and for studies of the structures of natural objects. Feininger was born in Paris, France, the eldest son of Julia Berg, a German Jew, and the American painter and art educator Lyonel Feininger (1871-1956). His paternal grandparents were the German violinist Karl Feininger (1844-1922) and the American singer Elizabeth Feininger, (née Lutz), who was also of German descent. His younger brother was the painter and photographer T. Lux Feininger (1910-2011). In 1908 the Feininger family moved to Berlin, and in 1919 to Weimar, where Lyonel Feininger took up the post of Master of the Printing Workshop at the newly formed Bauhaus art school. Andreas left school at 16, in 1922, to study at the Bauhaus; he graduated as a cabinetmaker in April 1925. After that he studied architecture, initially at the Staatliche Bauschule Weimar (State Architectural College, Weimar) and later at the Staatliche Bauschule Zerbst. (Zerbst is a city in the German state of Saxony-Anhalt, about 20 km from Dessau, where the Bauhaus moved to in 1926.) The Feininger family moved to Dessau with the Bauhaus. In addition to continuing his architectural studies in Zerbst, Andreas developed an interest in photography and was given guidance by neighbour and Bauhaus teacher László Moholy-Nagy. In 1936, he gave up architecture and moved to Sweden, where he focused on photography. In advance of World War II, in 1939, Feininger immigrated to the U.S. where he established himself as a freelance photographer. In 1943 he joined the staff of Life magazine, an association that lasted until 1962. Feininger became famous for his photographs of New York. Other frequent subjects among his works were science and nature, as seen in bones, shells, plants, and minerals in the images of which he often stressed their structure. Rarely did he photograph people or make portraits. Feininger wrote comprehensive manuals about photography, of which the best known is The Complete Photographer. In the introduction to one of Feininger's books of photographs, Ralph Hattersley, the editor of the photography journal Infinity, described him as "one of the great architects who helped create photography as we know it today." In 1966, the American Society of Media Photographers (ASMP) awarded Feininger its highest distinction, the Robert Leavitt Award. In 1991, the International Center of Photography awarded Feininger the Infinity Lifetime Achievement Award. Today, Feininger's photographs are in the permanent collections of the Center for Creative Photography, the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Art, London's Victoria and Albert Museum, and the George Eastman House in Rochester, New York. Source: Wikipedia
Margaret Halaby
Margaret Halaby
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I went to Radcliffe College, the University of Pennsylvania Law School, practiced law for a year, hated it, had a couple of other jobs during my working career and I am now retired. An alternative bio is that I have been creating pictures all my life, got my first set of oil paints when I was ten, took painting classes at the National Academy of Design when my daughter was in preschool. While painting was my first love, I was taking photographs at the same time and came to find more satisfaction in photography than painting. When I got my first digital camera in 2015, I was hooked. I now live in Tucson, AZ where I am continually dazzled and challenged by the dramatic desert light. Statement: These photos are part of a series I call Solitary Spaces, photos of deserted spaces - in nature, by empty buildings - portraying places that resonate with our feelings of aloneness in a beautiful, but indifferent world. AAP Magazine AAP Magazine 49 B&W
Nat Coalson
Nat Coalson
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Susi Belianska
Susi Belianska
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Susi Belianska is a photographer and artist with a passion for capturing visual stories, particularly through the art of portrait photography. Her fascination with the intricate details of the human face, the play of light and shadow that accentuates its contours, and the emotions it conveys drives her to create compelling and evocative portraits that tell unique narratives. With a background in the fashion industry, she transitioned into full-time photography in 2007, capturing diverse campaigns and catalogues for national and international brands. Her work has been featured in prominhotent publications like Condè Nast - Vogue Italia, GQ, Financial Times, Vrij Magazine, L’Officiel, D Repubblica, among others. She develops as well her personal projects within fine art. In 2013 she won the Nikon Talent Photo Contest presented and exhibited during the international contemporary art Artissima fair In 2012 she was in shortlist of the Sony World Photography Awards in fashion category. She actively participates in renowned photography festivals, including the Ancona Photo Festival 2021 and Grenze Photo Festival Verona 2022. Das Unheimliche: Das Unheimliche is a photographic project that explores the intersection between the human being and the artificial and invites us to reflect on the complex dynamics and emotional dilemmas that arise when confronted with the possibility that a man-made work can replace a living being. The photographs depict girls representing dolls, thus embodying the idea of the artificial figure hidden behind a human appearance. Each portrait captures the ambivalence of experience in front of these hybrid figures, who seem alive but lack genuine vitality. The expressions on the girls' faces convey a combination of fascination, unease and disquiet, inviting viewers to question the meaning and implications of this substitution. The idea that artificial creations can replace a person has ancient roots and can be traced across different cultures and historical periods. A significant example dates back to ancient Greece, where stories and myths have been documented involving statues or artifacts that come to life. Among these narratives, the myth of Pygmalion stands out, a famous sculptor who fell in love with his own creation: a statue of a woman. Through divine intervention, the statue came to life, highlighting the ability of artificial figures to enchant and involve human affections. Over the centuries, the idea of replacing an individual with an artificial figure has been explored in different forms of artistic expression such as in the film "Die Pupe" by Ernst Lubitsch or the short story "Sandman" by E.T.A. Hoffmann. In Lubitsch's film ,a shy young man decides to marry a mechanical doll to avoid a traditional marriage while in Hoffmann's story, a man becomes obsessed with a female automaton believing it to be alive.These works reflect on the tensions between desire, fear and the challenge of defining what is truly human. With the advent of modern technologies and artificial intelligence, the discussion around the possibility of replacing a human being has taken on a new meaning and relevance. Modern lifelike dolls and artificial intelligence interfaces, such as advanced chatbots, have become subjects of ethical and social debate. These creations raise profound questions about the nature of human relationships, affection and emotional connection, questioning our perceptions of what is authentic and genuine. Exploring the boundary between the human and the artificial has profound implications on a psychological level as well, as what approaches a living being but lacks vitality or completeness can elicit complex emotional reactions. Sigmund Freud's "Das Unheimliche" theory and Masahiro Mori's "Uncanny valley" hypothesis offer perceptive insight into these challenges and ambiguities. According to Freud's "Das Unheimliche" theory, the experience of what is familiar yet strange and disturbing can trigger a variety of psychological reactions, such as disgust or fear. When we are faced with artificial figures that resemble human appearance but without being alive, a feeling of unease can arise that challenges our understanding of what is considered authentic and genuine. Mori's "Uncanny Valley" hypothesis focuses on the concept of an emotional curve that describes our psychological responses based on the level of similarity of an artificial figure to human appearance. The project aims to capture the essence of these reflections, highlighting the contradictions and tensions that emerge. The girls portrayed represent a fascinating duality: on the one hand, they seem to reflect the dolls' ideal of perfection and control, with their delicate features and impeccable poses; on the other, they convey a feeling of foreboding and dissonance, which underlines the lack of authenticity and vitality. Each photograph is intended as an invocation of the need for a deeper connection with our own humanity and the complex emotional dynamics that emerge when we are faced with an artificial creature that seeks to emulate human affection and vitality. The project challenges us to investigate the meaning of humanity and our ability to deal with the complexities of affection, intimacy and replacement in an age characterized by rapid technological advances. It prompts us to explore our relationship to artifice and to deepen our understanding of ourselves. Stars: he focus of this project is to elevate women to a central place in the universe, symbolizing their importance, and to emphasize the need for equal treatment in social and occupational settings. The project features surreal images of women situated in an infinite cosmos surrounded by stars, emphasizing the timeless relevance of the message.The women depicted are captured without clothing to avoid association with any particular historical period, as passing time has no bearing in this context. The stars radiate upon their bodies, symbolizing the brilliance that women should exude in today's contemporary society. This project aims to celebrate those women who break the mold and call for questioning of stereotypes in a society often dominated by male culture. It highlights the strength and resilience of women who have defied non gender equal societal norms.Additionally, the project seeks to ignite discussions and raise awareness about gender inequality, addressing not only men but also women who may unknowingly undervalue their own worth, urging individuals to recognize and appreciate their own intrinsic value.
Marco Sanges
Marco Sanges
Italian
1970
SANGES is an imaginative and innovative photographer who has exhibited worldwide and published extensively. Clients and art projects include: Agent Provocateur, Cutler & Gross, Vogue, National Opera Munich,Dolce & Gabbana National Opera Stuttgart, Dario Argento, Stash Klossowski de Rola and Gunther Von Hagens' Body World. Academy of Art New York. Magazines include: Sunday Telegraph, Silver Shotz, Photo, All About Photos, Musee, Katalog, Lomography, Normal, Elle, Esquire, The Times, Independent, Fault , Aesthetica , Shoot, Harpers Bazar, L’œil De la Photographie. Wonderland Some of his short films include : Sugar, Meet me in Winter, Circumstances, Music Sound Machine, Sonnambula, Wunderkamera. His books include : Circumstances, Venus, Wild, and Erotic Photography, Love Lust Desire, Dolce & Gabbana Animal, National Opera Munich, The Cutting Room. Mefistofele Opera Stuttgart by Arrigo Boito. A multi-disciplinary artist, his film 'Circumstances' won Best Art Film at the Portobello Film Festival in London and Best Experimental Film at the Open Cinema Film Festival, St. Petersburg, Russia. Sanges' work is exhibited in the Virginia Museum of Fine Arts permanent collection and at the Center for Creative Photography in Arizona - USA His distinctive photographs have been shown at major contemporary photography festivals including Helsinki Photo Festival and Batumi PhotoDays in Georgia and the Lodz Photofestiwal in Poland. One of his latest project 'Wunderkamera' has been exhibited at the Hospital Club in London and at the Chateau de Dampierre (France) and will be exhibited in the Gallerie de Buci in Paris February 2020.
Russell Lee
Russell Lee
United States
1903 | † 1986
Russell Lee (July 21, 1903, Ottawa, Illinois – August 28, 1986, Austin, Texas) was an American photographer and photojournalist, best known for his work for the Farm Security Administration (FSA). His technically excellent images documented the ethnography of various American classes and cultures. Lee grew up in Ottawa, Illinois and went to the Culver Military Academy in Culver, Indiana for high school. He earned a degree in chemical engineering from Lehigh University in Bethlehem, Pennsylvania.(Source: en.wikipedia.org) He gave up an excellent position as a chemist to become a painter. Originally he used photography as a precursor to his painting, but soon became interested in photography for its own sake, recording the people and places around him. Among his earliest subjects were Pennsylvanian bootleg mining and the Father Divine cult. In the fall of 1936, during the Great Depression, Lee was hired for the federally sponsored Farm Security Administration (FSA) photographic documentation project of the Franklin D. Roosevelt administration. He joined a team assembled under Roy Stryker, along with Dorothea Lange, Arthur Rothstein and Walker Evans. Stryker provided direction and bureaucratic protection to the group, leaving the photographers free to compile what in 1973 was described as "the greatest documentary collection which has ever been assembled." Lee created some of the iconic images produced by the FSA, including photographic studies of San Augustine, Texas in 1939, and Pie Town, New Mexico in 1940. Over the spring and summer of 1942, Lee was one of several government photographers to document the eviction of Japanese Americans from the West Coast, producing over 600 images of families waiting to be removed and their later life in various detention facilities. After the FSA was defunded in 1943, Lee served in the Air Transport Command (ATC), during which he took photographs of all the airfield approaches used by the ATC to supply the Armed Forces in World War II. He worked for the United States Department of the Interior (DOI) in 1946 and 1947, helping the agency compile a medical survey in the communities involved in mining bituminous coal. He created over 4,000 photographs of miners and their working conditions in coal mines. In 1946, Lee completed a series of photos focused on a Pentecostal Church of God in a Kentucky coal camp. While completing the DOI work, Lee also continued to work under Stryker, producing public relations photographs for Standard Oil of New Jersey. Some 80,000 of those photographs have been donated by Exxon Corporation to the University of Louisville in Kentucky. In 1947 Lee moved to Austin, Texas and continued photography. In 1965 he became the first instructor of photography at the University of Texas. In addition to the materials at the University of Louisville, other important collections of Lee's work are held by the New Mexico Museum of Art,[6] Wittliff collections, Texas State University and the Dolph Briscoe Center for American History at the University of Texas at Austin.
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