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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Taisuke Sato
Taisuke Sato
Taisuke Sato

Taisuke Sato

Country: Japan
Birth: 1969

Taisuke was born in Nagoya, Japan in 1969.
After graduating from the Department of Sociology at Ritsumeikan University, Kyoto, Japan, he worked in housing sales and management for a major Japanese housing company. When he turned 50, he chose to spend his life exploring arts, photography and its philosophy, then turned to be a photographer.
He takes pictures in the style of street photography. They have some feelings, lonely, surreal, and humorous. He also has a unique sensitivity to the distance between society and people, and the perspective from which he views them. This is because when he was a boy, he moved every three years due to his father's job transfer.
As a result, he learned how to blend in quickly and get along with the existing community by observing closely and understanding the distance and atmosphere between people. This is because in Japan's collectivist and relationship-oriented society, it is difficult to join an existing group.
In addition, the fact that he himself is an existence that "Appears one day and disappears the next" has given him a subjective and objective perspective and thinking, but even so, in Japanese society dominated by the exclusivity of the community and "the Atmosphere of the place", his identity without a hometown or geographical ties is very uncertain and unstable.
For this reason, his works are photographed with a unique sensibility, and their atmosphere reflects his worldview.
His main theme is the relationship between himself, people, and society. In his work, he presents a methodology that takes a multifaceted view of human life and society and transforms it into a "Acceptance of impermanence".
And more, he has deep insights into social behavioral psychology, social science, mental health, social class, Japanese organizational philosophies, housing and family, which are largely reflected in his work.
 

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Rory Doyle
United States
1983
Rory Doyle is a working photographer based in Cleveland, Mississippi in the rural Mississippi Delta. Born and raised in Maine, Doyle studied journalism at St. Michael's College in Colchester, Vermont. In 2009, he moved to the Mississippi Delta to pursue a master's in education at Delta State University in Cleveland. He has remained committed to photographing the Delta, with a particular focus on sharing stories of overlooked subcultures. He was a 2018 Mississippi Visual Artist Fellow through the Mississippi Arts Commission and National Endowment for the Arts for his ongoing project about African American cowboys and cowgirls, "Delta Hill Riders." Doyle won the 16th Annual Smithsonian Photo Contest, the 2019 Southern Prize from the South Arts organization, the 2019 Zeiss Photography Award, the 2019 ZEKE Award for Documentary Photography, and the 2019 Michael P. Smith Award for Documentary Photography from the New Orleans Photo Alliance. He has had solo exhibitions in New York City, London, Atlanta and Mississippi. Doyle's work has been published in The New York Times, Washington Post, Wall Street Journal, The Atlantic, The Guardian and CNN. Delta Hill Riders Historians agree that just after the Civil War, one in four cowboys were African American. Yet this population was drastically underrepresented in popular accounts, and it is still. The "cowboy" identity retains a strong presence in many contemporary black communities. This ongoing documentary project in the Mississippi Delta sheds light on an overlooked African American subculture - one that resists historical and contemporary stereotypes. The project began January 2017 when I attended a black heritage rodeo in Greenville, Mississippi. The body of work reveals how deep and diverse this community is. I've been invited to black heritage rodeos, horse shows, trail rides, "Cowboy Nights" at black nightclubs across the Delta, and to subjects' homes across the region. The project aims to press against my own old archetypes - who could and could not be a cowboy, and what it means to be black in Mississippi - while uplifting the voices of my subjects.
René Burri
Switzerland
1933 | † 2014
René Burri is a Swiss photographer known for his photos of major political, historical and cultural events and key figures of the second half of the 20th century. Burri worked for Magnum Photos and has been photographing political, military and artistic figures and scenes since 1946. He has made portraits of Che Guevara and Pablo Picasso as well as iconic pictures of São Paulo and Brasília. Burri studied in Zurich, Switzerland at the School of Applied Arts from 1949 to 1953, where he worked under Hans Finsler, Alfred Willimann and Johannes Itten. From 1953 to 1955 he began working as a documentary filmmaker while completing military service. During this time he also began working with Leica cameras. Then he worked for Disney as a cameraman until 1955. From 1956 to 1959 he traveled extensively to places including Turkey, Egypt, Syria, Iraq, Jordan, Lebanon, Italy, France, Spain, Greece, Brazil, and Japan, which led to publications in Life, Look, Stern, Paris-Match, Epoca, and New York Times, as well as a photographic essay "El Gaucho" which appeared in Du. Burri first began working with Magnum Photos in 1955 through Werner Bischof, becoming a full member in 1959 and being elected chair of Magnum France in 1982. His first report "Touch of Music for the Deaf" on deaf-mute children was published by Life. In 1965 he assisted with the creation of Magnum Films which lead to his work on the Magnum-BBC joint production of, The Two Faces of China. In 1967 he produced a documentary on the Six-Day War in Jerusalem for German television. He produced the film Jean Tinguely in 1972. In 1963 Burri was working in Cuba when he was able to photograph the revolutionary Che Guevara; these images of Guevara smoking a cigar have become iconic. Notably, after taking the photos, Burri remembers Guevara "scaring the hell out of him". Describing a situation where an angry Che was pacing his tiny office like "a caged tiger", while being interviewed by an American woman from Look. While "hectoring" the reporter and "chomping on his cigar", Che suddenly looked Burri straight in the eye and told him "if I catch up with your friend Andy, I'll cut his throat" (while slowly drawing his finger across his neck). Andy was Andrew St. George, a fellow Magnum photographer, who had travelled with Che in the Sierra Maestra, and then later filed reports for American intelligence. Source: Wikipedia René Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, Touch of Music for the Deaf, published in LIFE magazine. In 1956, he traveled throughout Europe and the Middle East and then went to Latin America, where he made a series on the Gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti, and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto ‘Che’ Guevara during an interview with an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965 and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time, he made collages and drawings. In 1998, Burri won the Dr. Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Européenne de la Photographie in Paris and toured many other European museums. René Burri passed away at the age of 81 on October 20, 2014. Source: Magnum Photos
Svetlin Yosifov
I was born in Bulgaria, and I had the privilege of living in this beautiful country all my life. My employment is in a private sports club, focused on extreme sports, which involves a lot of travelling and keeps my life dynamic and interesting. Apart from this, I love travelling abroad and do this once a year for a period of two months. I always associate these trips with diving in the unknown, meeting new people and experiencing something new. My adventurous spirit is my main drive, the inner flame, that keeps me going! Not a professional freelance photographer. I define myself as a travel-documentary-art photographer. For almost 20 years now photography has been part of my life. My passion is catching street portraits and trying to figure out my object's character.Portrait photography is the most compelling genre for me. The impact of a single photo, comes from the emotion it reflects.My Point of interest - traditions in primal and natural places like India, Ethiopia, Kenya, Indonesia, Vietnam, Laos, Cambodia, Cuba and more. I consider good photography to be much more than a snapshot or a memory, it is something that tells a story, strong enough to influence the world we live in and raise more awareness. Throughout the years my interviews and photographs have been published in many magazines and websites. About Mursi People Mursi People is a series of photos that were taken during my visits to Ethiopia and are part of the albums "Ethiopian tribes expedition 2018" and the "Second Ethiopian tribes expedition 2019" The African tribe of Mursi people is isolated in Omo valley - South Ethiopia near the border with Sudan. They are one of the most fascinating tribes in Africa with their lives being a combination of brutal reality and amazing beauty. What was really appealing to me, as a photographer, was to capture and recreate the perplexing nature of their culture and way of life. Suffering from extreme drought in the past few years has made their life cruel and sometimes dangerous, but has not left a single mark on their traditions. Living among them gave the sense of extreme authenticity and in the same time felt like an illusion. Their faces filled my insatiable passion for capturing pure, untouched souls of a culture on the brink of extinction." Discover Svetlin Yosifov's Interview
Micha Bar-Am
Germany
1930
Micha Bar-Am is a German-born Israeli journalistic photographer. His images cover every aspect of life in Israel in the past sixty years. Since 1968 he has been a correspondent with Magnum, the photographic cooperative. From 1968 to 1992, he was The New York Times photographic correspondent from Israel. He has published several books of photography, beginning in 1957. His work is held in numerous international museums and institutes throughout the world. Born in Berlin to a Jewish family, Bar-Am moved with his parents in 1936 to then British Mandate of Palestine. He attended local schools. He was drafted in 1948 and served during the 1947–1949 Palestine war, when he was part of the Palmach Unit. Afterward, he worked several jobs, including as a locksmith and a mounted guard, before becoming a photographer. In 1949 he co-founded the kibbutz Malkia in Galilee. Later he became a member of Kibbutz Gesher HaZiv. In the early 1940s, Bar-Am started taking pictures of life on a kibbutz; he used borrowed cameras until he bought a Leica. After his military service, he began photographing more seriously. After publishing his first book, Across Sinai (1957), Bar-Am gained work as a photographic reporter and in the editorial staff of the Israeli Army magazine, Ba-Mahaneh, from 1957 to 1967. In 1961 he covered the Eichmann trial. In 1967 he covered the Six-Day War, during which time he met Cornell Capa. Many of his war images brought him renown. Since 1968, he has been a correspondent for Magnum Photos. In 1974 he helped Capa found the International Center of Photography in New York City. In 1968, Bar-Am also became the photographic correspondent from Israel for The New York Times, a position he held until 1992. From 1977 to 1992, he was head of the department of photography at the Tel Aviv Museum of Art. He continues to work on his photography. He writes about his work: "I keep my internal eye open for that other, metaphorical image that transcends illustration to achieve a wholeness of its own. I strive for the elusive entity that is both evidence and evocation, public record and personal vision." He says that he has adopted Robert Capa's saying, "If your photographs aren't good enough, you weren't close enough," but has added a caveat: "If you're too close you lose perspective. It is not easy to be fair with the facts and keep your own convictions out of the picture. It is almost impossible to be both a participant in the events and their observer, witness, interpreter. The effort brings great frustration, and equally great reward."Source: Wikipedia Born in Berlin in 1930, Micha Bar-Am emigrated to Israel (then Palestine) with his parents at age six. During his youth, Bar-Am became active in the pre-state underground and was drafted in 1948. After serving in the war, he helped found the Kibbutz Malkiya in Galilee. Soon after, Bar-Am moved to Kibbutz Gesher-Haziv, where he took his first photographs of archeological digs in the Judean desert. He borrowed his camera from an American member of his kibbutz who teased that though Bar-Am’s photographs were better than his own, they would never be used, as Bar- Am was only a “kibbutz dilettante.” Bar-Am proved this statement wrong; his work was soon published in the Israeli Army magazine Bama Hana. In 1957, he was offered a full time job as a staff photographer for the magazine. In the following years, Bar-Am continued to document the Israeli army. In 1967, he photographed the Six-Day War, during which he met Cornell Capa. Capa and Bar-Am became friends and he introduced Bar-Am to Magnum, a photographic co-operative where Bar-Am would become an associate. In 1968, Bar-Am began his career as a New York Times correspondent and documented the Israeli Palestinian conflict from Suez to the Golan Heights. Bar-Am was closely involved with the founding of the International Center of Photography in 1974, working alongside Cornell Capa as a curator. He became the Curator of Photography for the Tel Aviv Art Museum in 1977. He left this position in 1992, and has been working on his own photography ever since. Though often classified as such, Micha Bar-Am is not merely a photojournalist (an assignation Bar-Am himself refuses). His work represents more than documentation of the action of war. Bar-Am’s photography captures the changed lives and lifestyles of Israeli men and women as a result of the years of conflict. His carefully composed shots contain a thoughtfulness and artfulness often unseen within documentary photography. His work continues to be published and exhibited around the world.Source: International Center of Photography
Anna Hayat and Slava Pirsky
We are Anna Hayat (born 1974) and Slava Pirsky (born 1965), originally from the Soviet Union. Each of us decided to start a new life in Israel in the early 90s, in search of new horizons. Fate brought us to Jerusalem through different paths, where we lived for over 20 years and now find joy in a small town nearby. We met in 1999 and instantly felt a special connection, as if our shared passion for photography brought us closer. In 2000, we became proud parents of an exquisite daughter whom we started photographing from her very birth. Since then, we have become an inseparable team and partners in the world of photography and art. For over 20 years, we have actively collaborated on joint photography projects. Our creative process revolves around analog photography, primarily using old Polaroid large-format black and white negative plates. Despite the discontinuation of production of these films in 2008, we use expired films to create unique and emotive works of art. We capture images using both a large studio camera and small field Polaroid cameras. The slow shooting process is of utmost importance to us, as it imparts a special depth to our works. In a way, the negative itself becomes another partner in our process. We appreciate the unpredictability of old negatives, which gives our photographs a distinct character, a touch of poetry, and a timeless feeling that is crucial to our work. Our latest project reflects our emotions and pain caused by Russia's treacherous aggression. For this series, we ventured into a mixed technique for the first time, tearing and cutting our works, stitching them anew, adding patches and seams. The project was showcased at the Ramlah Museum and immediately after at the KyotoGraphie International Photography Festival in Japan.
Herbert List
Germany
1903 | † 1975
Herbert List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was born on 7 October 1903 to a prosperous business family in Hamburg, the son of Luise and Felix List. He attended the Johanneum Gymnasium, and afterwards studied literature 1921–23 at the University of Heidelberg. While still a student he became apprenticed in the family company, Landfried Coffee. In 1923, after two years in Heidelberg learning about the coffee trade and attending lectures at the university on Greek art and literature, List traveled for the family business Kaffee-Import Firma List & Heineken, Hamburg. Between 1925 and 1928 he visited plantations and contacts in Guatemala, Costa Rica, San Salvador, Brazil (where he stayed for six months) and San Francisco. During this time he began taking photographs. In 1929 he met Andreas Feininger who inspired his greater interest in photography and gave him a Rolleiflex camera. From 1930 he began taking portraits of friends and shooting still life; was influenced by the Bauhaus and artists of the surrealist movements, Man Ray, Giorgio De Chirico and Max Ernst; and created a surrealist photograph titled Metaphysique in a style he called fotografia metafisica in homage to De Chirico, his most important influence during this period. List used male models, draped fabric, masks and double-exposures to depict dream states and fantastic imagery. He has explained that his photos were "composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances." While there are surface similarities to Nazi imagery of the athletic male body—that of Leni Riefenstahl for example—unlike them, List's pictures of friends are portraits as much as they are nudes, nor did List endorse Nazi ideas, nor did his work influence National Socialist photography. He never published his male nudes in his own lifetime, and kept them hidden in his mother's house in a sack he called his poison bag". He was however influenced in his depiction of romantic paganism by the Jugendbewegung youth and physical health movement, though he did not join any of its associations, and some of the ideals of the Jugendbewegung were co-opted by the Nazis (though they later denounced the movement) and influenced their idealizing Romantic realism. List in his own notes uses a pun—"Das Objektiv ist nicht objectiv,"—to emphasize his creative, non-realist, application of photography. The lens is not objective. Otherwise photography would be useless as an artistic medium. -- Herbert List In 1936, in response to the danger of Gestapo attention to his openly gay lifestyle and his Jewish heritage, List left Germany for Paris, where he met George Hoyningen-Huene with whom he travelled to Greece, deciding then to become a photographer. In 1937 he worked in a studio in London and held his first one-man show at Galerie du Chasseur d'Images in Paris. Hoyningen-Huene referred him to Harper's Bazaar magazine, and 1936–39 he worked for Arts et Metiers Graphiques, Verve, Vogue, Photographie, and Life. List was unsatisfied with fashion photography. He turned back to still-life imagery, continuing in his fotografia metafisica style. From 1937 to 1939 List traveled in Greece and took photographs of ancient temples, ruins, sculptures, and the landscape for his book Licht über Hellas. In the meantime he supported himself with work for magazines Neue Linie, Die Dame and for the press from 1940 to 1943, and with portraits which he continued to make until 1950. In List's work the revolutionary tactics of surrealist art and a metaphysical staging of irony and reverie had been honed in on the fashion industry that relied on illusion and spectacle which after World War II returned to a classical fixation on ruins, broken male statuary and antiquity. In 1941, during World War II, he was forced to return to Germany; but because one of his grandparents was Jewish he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being of partly Jewish ancestry. He served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Bérard, Georges Braque, Jean Arp, Joan Miró, and others. After the war, he photographed the ruins of Munich where he continued to live until 1960, working mainly for the Swiss magazine Du, with freelance photo essays for Heute, Epoca, Look, Harper's Bazaar, Flair, and Picture Post. He was made art editor of Heute magazine, published by the Allied occupying forces, in 1948. In 1951, List met Robert Capa, who invited him to work as a contributor to Magnum, but he rarely accepted assignments. For the next decade he produced copious work in Italy. During this time he also started using a 35 mm film camera and a telephoto lens. He was influenced by his Magnum colleague Henri Cartier-Bresson as well as the Italian neorealist film movement. In the 1950s he also shot portraits of Marino Marini, Paul Bowles, W. H. Auden, and Marlene Dietrich in 1960. Over the period 1949–62 he visited Italy, Greece, Spain, France, Mexico, and the Caribbean. List's 1950 picture of a woman, her black dress spread about her, reclining at a respectable distance from an elderly man reading, with one leg of his trousers rolled above his socks and garter, both enjoying the spring sunshine on the front steps of the Glyptothek in Munich, was selected by curator Edward Steichen for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors. In 1964 List was awarded the David Octavius Hill Prize of the Gesellschaft Deutscher Lichtbildner. Herbert List is best known for his book Junge Männer (1988) which contains more than seventy images of young men lounging in the sun, wrestling and innocently regarding the camera lens. It is introduced by Stephen Spender in whose autobiographical novel The Temple, written in 1929 but not published until 1988, List is fictionalized as Joachim Lenz. List gave up photography in the early 1960s to concentrate on his collection of Italian Old Master Drawings. He died in Munich on 4 April 1975, and his archive was absorbed in the Ratjen collection which was later acquired by the National Gallery of Art in Washington.Source: Wikipedia
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