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Johan Gerrits
Johan Gerrits
Johan Gerrits

Johan Gerrits

Country: Netherlands
Birth: 1962

Though we travel the world over to find the beautiful, we must carry it with us or we find it not - Ralph Waldo Emerson I was born in the east of the Netherlands, a green countryside full of nature. My interest for nature was one of the reasons to start 25 years ago with photography. Since then subjects changed from nature, architecture, art into people. Especially the last one takes a big role in my travelphotography.

Two of my great passions in life are photography and travelling. I believe that travel broadens one's view of the world, makes you more tolerant, and reflects on our way of living and thinking.

Experiencing other cultures, rituals and customs, enrichen your knowledge and deeper understanding of the world around you. By documenting these unique cultures, in which some of them are vanishing very fast. I hope that my work has a merit in preserving their beautiful and cultural diversity.

In my photography I try to reveal a person's character, his spirit, his way of showing himself to the world. In doing this I respect their culture, habits and religion as much as possible.

I'm not a professional photographer, just an amateur who likes to photograph the beauty of mankind.

Websites

www.johangerrits.com

@johan_gerrits_photography

 

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Sandrine Hermand-Grisel
Sandrine Hermand-Grisel
France
1973
Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied International Law before deciding to dedicate her life to photography in 1997. Influenced by her late mother's sculptures and her husbands paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road. Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ''Nocturnes'' where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ''Somewhere'' is her dream of America, a road trip through her adopted country. And ''Waterlilies'' is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world. In 2013, she created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects. All about Sea Sketches Since I was a little girl my parents insisted that my brother and I accompany them almost every weekend to see an exhibition, a museum or an historic house. What was excruciating at first slowly became a real pleasure. Thanks to them, I had the privilege to see incredible exhibitions both in Paris and London where I grew up. Depending on my age and moods at the time, I favored a century, a movement, a painter... It was love at first sight when I discovered "Wanderer above the Sea of Fog" by Caspar David Friedrich. In the foreground, a young man stands upon a rocky precipice with his back to the viewer. He overlooks a landscape covered in a thick sea of fog. I was overwhelmed by the beauty of nature, the subtle colors, the calm and yet the movement that came from the wind. I perceived the character as content and in harmony with nature and I wondered if one day I would find my perfect place... and many years later, I did. On the west coast of Florida lies Anna Maria, a quaint barrier island nestled in the Gulf of Mexico. The water is warm and turquoise, the sand is white. Well preserved, the birds and turtles come here to nest while the respectful tourists lie on the sand every night to witness the incredible sunsets. Time is suspended. With the romantic painters Turner and Friedrich in mind, I captured a glimpse of Anna Maria, its light, its beaches, its movement, its unleashed elements... I hope you will immerse yourself in my Sea Sketches "paintings" and escape with me, even for the length of a sigh, from the harsh realities of life and share my happy place.
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Lisa Tichané
France
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Lisa Tichané is a commercial photographer specialized in kids & babies. She has a true passion for children and loves documenting the energy and playfulness of childhood. Based in France but travelling internationally for commissioned work, she is well known for her unique ability to connect with her tiny models and get irresistible images even from the most unpredictable, unwilling subjects. She thrives to capture real life, true joy and wild carefree moments. She is a published author and her work has been featured in many international books and magazines. Her images can be found in advertising campaigns for international brands such as Colgate, MAM Baby, Procter & Gamble, Enfamil, Danone Cow & Gate or Stanhome. In addition to shooting international advertisements for major brands, she has been hired by the world's leading publishers to write books on children photography, as well as teach her tricks and tools of the trade to hundreds of other photographers.
Julia Nathanson
Julia Nathanson
Canada
1974
Julia Nathanson earned a degree in psychology from McGill University in 1996. She then went on to develop her visual skills at the New York Film Academy. Later, she began to explore street and urban-style landscape photography. She has since been published in Hipstography, The App Whisperer, and National Geographic. Her awards include Hipstography’s Street Series of the Year, the Mobile Photo Grand Prize at PhotoIndependent and a special award by acclaimed photographer Ben Watts for her series "In the Lane." Her prints adorn the walls of several private collectors and have been exhibited throughout North America and Europe. When not shooting, she manages to feed and clothe her two girls (who also happen to be unpaid models.) Julia lives and works in Toronto. About my work: I am endlessly fascinated by nature’s will to persist. Brilliant flowers growing through cracked concrete, weedy vines creeping along rusty eaves. I am perpetually dazzled by the colours of the city. I marvel at how they contrast, or become chameleons by chance. It reminds me that poetry is everywhere, even if it’s inconspicuous. There is harmony in unexpected places, there is life that wants to live. Equally alluring is the magic of children in the summertime. That fleeting time evokes my own fractured and dreamy recollections of childhood. Regardless of the subject, I hope that my work elicits a memory, a hope, a reverie.
Ali Nejatbakhsh
Ali Nejatbakhsh
Iran
1992
Ali Nejatbakhsh is an Iranian photographer and a candidate for a Master’s degree in Photography at the Faculty of Fine Arts, University of Tehran. His work explores documentary and social themes, with a primary focus on capturing human experiences and cultural rituals. As a professional instructor of digital software, Ali combines technical expertise with an artistic vision to create precise and impactful images. Some of his photographs have gained recognition in international exhibitions and festivals for their subtle portrayal of cultures and the tourist attractions of his country and neighboring regions. Awarded Photographer of the Week - Week 07, 2026
Deborah Turbeville
Deborah Turbeville
United States
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Deborah Turbeville was born in 1938, in Boston. Summers were spent in Ogunquit, Maine. 'Beautiful Place by the Sea' is the oceanside township's motto. 'Very bleak, very stark, very beautiful,' was Turbeville's description of it. Life was comfortable - she went to private school. Yet her mother described her as a 'shy and scary child'. Which is as it should be. The uneasy shuffle of ambiguity is the essence of Turbeville and her work - which itself shuffles between fashion magazine and art gallery, never fully at peace in either place. Like her near contemporaries, Helmut Newton and Guy Bourdin, she rethought and recast fashion photography in the 1970s. Perhaps even more than those two louche Europeans, though, she injected narrative and mystery into what is, after all, an unabashedly commercial process. Her pictures are as much riddles as they are images. Consciously damaged goods, they are blurry, grainy, tormented into painterly colours, scratched, marked, sellotaped - post-production work often done with her long-term assistant and collaborator Sharon Schuster. 'I destroy the image after I've made it,' said Turbeville. 'Obliterate it a little so you never have it completely there.' It's a quite un-American world, a view through the rear window, fascinated by the beaten, worn and forgotten. She has photographed her own house in Mexico as if she were a time-travelling visitor in her own intimate landscape, slightly drunk in exploration and contemplation of the rooms and their objects - tin retablos, wooden boxes, a painted carving of the Virgin Saint Maria Candelaria. She has photographed old Newport and the lost St Petersburg. One of her books was called 'Les Amoureuses du Temps Passe' - (female) lovers of times past. 'The idea of disintegration is really the core of my work.' When Jackie Onassis commissioned her to photograph the unseen Versailles, the late president's wife urged the photographer to 'evoke the feeling that there were ghosts and memories.' Turbeville began by researching the palace's 'mistresses and discarded mistresses', then photographed not just the palace's grand chambers and vistas but its store rooms and attics. She came to photography late. Arriving in New York at 19, with dreams of a stage career, she worked as a model and assistant to Claire McCardell - the fashion designer who brought wool jersey and denim to the catwalk. She joined Harper's Bazaar in 1963, working with its fashion editor, Marvin Israel, and his crew of photographers which included Diane Arbus, Richard Avedon and Hiro. She took her first pictures in Yugoslavia in 1966. They were blurry. She showed them to Avedon. He liked them, blurs and all. So he taught her technique. In 1972, she became a photographer. Like other adventurous photographers of the era, she worked for Nova magazine. She took some pictures for Vogue of girls in bikinis at a cement works. 'The most revolutionary pictures of the time,' said Conde Nast's editorial director Alexander Liberman. The work that made her name was the 'bathhouse' series she took for American Vogue in 1975 - fashion photographs of barely dressed women, wet and languid, almost kitsch. The oddest thing, though, is the sense that the women are prisoners - of what is not clear, of course. It's been said they look like they're in gas chambers. 'I go into a women's private world, where you never go,' Turbeville said. 'It's a moment frozen in time. I like to hear a clock ticking in my pictures.' If one of photography's most honourable impulses is to subvert - or flee from - the medium's inherent voyeurism, Turbeville collapses this paradox by succumbing to it. Victorian academic paintings presented unclothed women in bathing pools as if the painter were not there - the illusion of pornography. Turbeville's naked, wet women are under no such illusion. They know the photographer is there. They acknowledge her presence. They maybe even watch us, the viewer. The bathouse pictures were collected, with others, in her 1978 book 'Wallflower' - arrestingly and sympathetically designed by her mentor, Israel. In it are all the essentials of her work: a feeling that you are somewhere in the past; a languid, barely sexual sexuality; white, willowy women; distressed prints; a luminous quality; a sense of a narrative interrupted. Yet she's a jobbing photographer, too. She's worked for American Vogue and its British, French, Italian, and Russian counterparts. She's done ads for Ungaro, editorial photographic essays for Harper's Bazaar and portraits of Julia Roberts for the New York Times Magazine. She wears black, mostly. She has reddish hair. She has homes in Mexico, New York and Russia. She teaches in Russia. She's been married at least once. When she lived in Paris, at the turn of the 1980s, she'd rummage through the streets every evening, between 6 and 8 o'clock. 'I'm a voyeur,' she said. (Source: Pete Silverton - www.professionalphotographer.co.uk)
Rogan Coles
Rogan Coles
South Africa/United Kingdom
1954
I was born in 1954. Photography is what I do. The stories lie therein. In presenting this body of work I want to explore something that is often overlooked - as in the intrinsic value of photography. As one of his mantras, Jack Ma, the founder and now former CEO of Alibaba and a person whose tenacity I admire, said this, "I always look 10 years ahead". While I'm not going to suggested that this is what I do with my photography or when I am about to embark on a project. But and quite often, there's something prescient in what I do and how I approach my work as a photographer. When I set out to document Smithfield Market in London, this is more or less what happened. Besides all the talk of closing down the market, there were suggestions that the market was going to be refurbished and, in the process, brought up to European Union health standards. At around this time, I used to take a short cut through the market's precinct as I walked from one side of the city to the other. Of course, during the day, there was nothing there. Well, let me qualify, there were no people there. Working hours were from just around midnight until the early hours of the morning. With these various stories doing the rounds, I wanted to investigate. In the process I made contact with the market's management. As a result, I was granted to two week window to document the market and the activities there. This was back in April of 1991. Yes, nearly 30 years ago. This is what I mean, the "intrinsic value of photography". I don't know what these images are worth. I have never exhibited them or ever had them published in any form. No real reason. Then as now, perhaps I didn't have a compelling enough story that publications or curators could buy into. "Intrinsic value" is not going to see this work through to anything significant. Perhaps something like "British working class heroes", "End of an era" or "Times are a changing" may have done it. But, we live on in hope. I have long admired photography of Vivien Maier and see her work in much the same way - and that is, for its intrinsic value. Through her work, Maier more or less defined the Chicago of a particular era. Another photographer's work who I much admire is Max Yavno. Again, the strength of his work lies in its intrinsic value. Through his work, he more or less defined Los Angeles and San Francisco of an era and, to some degree, Cairo. His work is iconic - just as is Maier's.
Josef Koudelka
Josef Koudelka
Czech Republic
1938
Josef Koudelka was born in 1938 in Boskovice, Moravia. He began photographing his family and the surroundings with a 6 x 6 Bakelite camera. He studied at the Czech Technical University in Prague (CVUT) between 1956 and 1961, receiving a Degree in Engineering in 1961. He staged his first photographic exhibition the same year. Later he worked as an aeronautical engineer in Prague and Bratislava. He began taking commissions from theatre magazines, and regularly photographed stage productions at Prague's Theatre Behind the Gate on a Rolleiflex camera. In 1967, Koudelka decided to give up his career in engineering for full-time work as a photographer. He had returned from a project photographing gypsies in Romania just two days before the Soviet invasion, in August 1968. He witnessed and recorded the military forces of the Warsaw Pact as they invaded Prague and crushed the Czech reforms. Koudelka's negatives were smuggled out of Prague into the hands of the Magnum agency, and published anonymously in The Sunday Times Magazine under the initials P. P. (Prague Photographer) for fear of reprisal to him and his family. His pictures of the events became dramatic international symbols. In 1969 the "anonymous Czech photographer" was awarded the Overseas Press Club's Robert Capa Gold Medal for photographs requiring exceptional courage. With Magnum to recommend him to the British authorities, Koudelka applied for a three-month working visa and fled to England in 1970, where he applied for political asylum and stayed for more than a decade. In 1971 he joined Magnum Photos. A nomad at heart, he continued to wander around Europe with his camera and little else. Throughout the 1970s and 1980s, Koudelka sustained his work through numerous grants and awards, and continued to exhibit and publish major projects like Gypsies (1975) and Exiles (1988). Since 1986, he has worked with a panoramic camera and issued a compilation of these photographs in his book Chaos in 1999. Koudelka has had more than a dozen books of his work published, including most recently in 2006 the retrospective volume Koudelka. Koudelka has won awards such as the Prix Nadar (1978), a Grand Prix National de la Photographie (1989), a Grand Prix Cartier-Bresson (1991), and the Hasselblad Foundation International Award in Photography (1992). Significant exhibitions of his work have been held at the Museum of Modern Art and the International Center of Photography, New York; the Hayward Gallery, London; the Stedelijk Museum of Modern Art, Amsterdam; and the Palais de Tokyo, Paris. He and his work received support and acknowledgment from his friend the French photographer, Henri Cartier-Bresson. He was also supported by the Czech art historian Anna Farova. In 1987 Koudelka became a French citizen, and was able to return to Czechoslovakia for the first time in 1991. He then produced Black Triangle, documenting his country's wasted landscape. Koudelka resides in France and Prague and is continuing his work documenting the European landscape. He has two daughters and a son. Source: Wikipedia
Matt Wilson
Matt Wilson
United Kingdom
1969
Matt Wilson’s current body of work is part of an ongoing project, based upon a collection of transient observations, the landscapes of every day life and the people that call those landscapes home. It delves into the artist’s own history, his formative and current years within his home landscape and in the city he now resides and also, those of distant landscapes both literally and metaphorically he has traveled. A subtle, visually rich character study of what makes us who we are and the places we all inhabit and journey to, a chance to observe those looking outward whilst reflectively an opportunity to gaze inward.Source: Susan Inglett Gallery Matt Wilson photographed everywhere in Europe, starting with his native England, but also in France, with which it has its affinities, without omitting the Eastern countries where he still returns frequently between two stays Cuba. More recently, he ended his desire browse new territory: the United States where he lived for ten years. He could be afraid to touch this history, both American photographers are already loaded beautifully. But again, it gives us an amazing vision that reveals by snapshots of landscapes and men burnt by the sun that eventually, anyway, by lying down on this vast landscape to create ineffable moments that we may be fooling yourself and see it in watercolor. Then we could call this work “pictorial metaphor” even if the drift purely pictorial characters Matt Wilson were not so rooted in their time and in their daily lives, although sometimes needy. Because somewhere, if Matt Wilson gives us what he sees through a poetic prism, it is also a reporter and reflects our contemporary society by its subjects but often raw deals at tragic nor misery. His watchful eye is rather benevolent view borrowing a tragicomic light behind the full extent of a deeply humanistic thought.Source: mattwilsonphotography.com
Michael Potts
Michael Potts
United States
1977
Mike grew up in Pennsylvania and in 2005 moved to Arizona where he’s rarely cold and doesn’t have to shovel snow. He graduated from Bucknell University with a major in English and a minor in Chemistry and still wonders what to do with them. He currently works as a nuclear medicine technologist mainly so he has someone to talk to. This lets him photograph on the side without having to live on ramen and sleep on friends’ couches. The rest of his time is devoted to various cats. They don’t like ramen, but they do like couches. His ultimate dream would be to visit Mars (and ideally make the trip back too). In the meantime he keeps making pictures.
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