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Debdatta Chakraborty
Debdatta Chakraborty
Debdatta Chakraborty

Debdatta Chakraborty

Country: India
Birth: 1975

Debdatta Chakraborty, born and brought up in Eastern India and based in Kolkata. An amateur photographer, I describe myself as a visual storyteller.

I do not restrict myself to any particular genre. As I'm an amateur, I have no professional bindings to stick to any particular type of photography and so learn about whatever kind of photography that appeals to me at any point of time.

In 2015, has been honored with the Documentary Award by China Folklore Photography Association and UNESCO in The Humanity Photo Awards at Shangri- La, China.

Has been awarded with the special merit medal award in the prestigious photo contest HIPA 2016 in the photo story category.
In 2018, I was declared third prize winner in Nikon Photo contest.
In 2020, I was declared Grand Prize Winner in Naris Day International Photo Contest.
In 2022, I was declared Grand prize winner in Pink Lady Food Photography Award.
In 2022, 2nd Place Winner All About Photo Awards 2022, The Mind's Eye

Website

@cdebdatta

 

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More Great Photographers To Discover

David Salcedo
David Salcedo
Spain
1981
My maternal grandfather had a grocery store in the town, the paternal grandfather did a thousand jobs throughout Spain, the grandmothers made a living sewing clothes and faced continuous worries. My parents had to emigrate to and they ended up having a bar, where the whole family worked. I, perhaps, should have stayed with the bar, but I chose the path of light. There was no shortage of those who told me that it would be difficult and hard, but no one in my family has had it easy. Why would I be less? Years later I am full of new physical and spiritual scars, which have added to what already existed within me and always defined my way of seeing the world. And it is that I will never be able to escape from what is close to me and is the measure of everything I discover, of the tenderness that they taught me to have in my heart and the silence with which I lived for years. It is in this mixture that my photographs are macerated. The set of these circumstances, nothing special, is what has led me to win several prizes and scholarships, exhibit nationally and internationally, participate in a good number of catalogues, publish several fanzines, collaborate with the Kursala of the University of Cádiz, to publish with the publishing house Ediciones Posibles And it seems that everything was an instant. Statement Next you have Fuchina, a work on the festivals of my parents’ town, Caravaca de la Cross. To do so, I fled from the traditional way of approaching parties with three very clear ideas, also looking for them to be protagonists in a subtle way. The first of the ideas is to do a job where the sound was extracted in the middle of all the noise of some parties with more than 20 music bands and more than 50 brass bands. The second of the concepts is to play with the plans, cuts and compositions to make the viewer feel as if they were inside the festivities. Third is to create a metaphor about the general situation of the town itself with strong light and faded color. The name Fuchina refers to a liquor that decades ago was distilled illegally for parties.
Rena Effendi
Rena Effendi
Azerbaijan
1977
Rena Effendi's early work focused on oil industry's effects on people's lives. As a result, she followed a 1,700 km oil pipeline through Azerbaijan, Georgia, and Turkey, collecting stories along the way. This work was published in 2009 in her first book: "Pipe Dreams A chronicle of lives along the pipeline". In 2013, Rena Effendi published her second monograph "Liquid Land" where her images are paired with photographs of perished butterflies hunted by her father, a Soviet entomologist, who collected more than 30,000 butterflies in Soviet Union. Liquid Land punctuates the theme of fragility and environmental decay of Baku, the city where Effendi was born and grew up. Effendi has received many international awards including the Alexia 2018 Professional Grant, the Prince Claus Fund Award for Culture and Development, World Press Photo (for observed portraits in 2014), SONY World Photography Award (fine art category), Getty Images Editorial Grant and was short-listed for the Prix Pictet Award in Photography and Sustainability. Rena Effendi is represented by National Geographic Creative agency and ILEX Gallery. Rena Effendi's work has been exhibited in museums and galleries worldwide including at the Saatchi Gallery, Miami Art Basel, Istanbul Modern, and the 52nd Venice Biennial. She has worked on editorial assignments for the National Geographic, The New Yorker, Newsweek, TIME, The New York Times magazine, Vogue, Marie Claire, The Sunday Times, GEO and others.
Florian Kriechbaumer
Florian Kriechbaumer
Germany
1988
Florian is an award-winning photographer who likes to combine the artistic and technical aspects of the domain. He enjoys applying his creativity across a broad spectrum of ideas and styles, always looking to capture compositions and places not yet seen before. His clients include companies such as Expedia and National Geographic, his work has been used by global media firms such as CNN, and exhibited in galleries from NYC to London. He published several photography books, regularly holds workshops and talks, and enjoys sharing his experience and insights with others. ''The camera is an instrument that teaches people how to see without a camera.'' Dorothea Lange AAP Magazine AAP Magazine 49 B&W AAP Magazine 50 Shapes
Edward Steichen
Edward Steichen
Luxembourg/United States
1879 | † 1973
Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
Evelyn Bencicova
Evelyn Bencicova
Slovakia
1992
Evelyn Bencicova is a visual creative specialising in photography and art direction. Informed by her background in fine art and new media studies (University for Applied Arts, Vienna), Evelyn's practice combines her interest in contemporary culture with academic research to create a unique aesthetic space in which the conceptual meets the visual. Evelyn's work is never quite what first appears to be. Her photographs depict meticulously-controlled compositions characterised by an aesthetic sterility, tinged with poetic undertones of timeless desire and longing. Evelyn constructs compelling narrative scenarios that blur the lines between reality, memory and imagination — "fictions based on truth". Depicting multifaceted representations as illusions, Evelyn plays with the viewer's perception to entice them into the secret labyrinth of her imagination. Her disturbingly beautiful visual language and washed-out colour palette, set within curiously symbolic environments, allow for a deep exploration of the themes that take her images far beyond what they reveal at first glance. Evelyn's client repertoire includes fashion and luxury brands such as Gucci, Cartier and Nehera, as well as cultural institutions such as Frieze, Berghain, Kunsthalle Basel, Royal Opera House, Slovak National Theatre and Ballet and Museums Quartier Vienna. In 2018, Bencicova was invited to create visuals for the Institute of Molecular Biology in Austria, and to perform at the closing ceremony for Atonal Berlin. Evelyn's commercial and artistic projects have been featured in the likes of Vogue Portugal, Vogue Czechoslovakia, ZEIT Magazine, ELLE, Dazed & Confused, GUP, HANT and Metal Magazine. Her work has been published in prestigious international photography books and on several online platforms (Juxtapoz, iGNANT.com, Fubiz media) and she has participated in solo and group exhibitions across Stockholm, London, Tokyo, Paris, Berlin, Vienna, Milan, Amsterdam, Brussels, Prague and Rome to mention few. In 2016, Bencicova received the prestigious Hasselblad Masters and Broncolor GenNext awards. She was shortlisted and awarded by Taylor Wessing Photographic Portrait Prize, LensCulture, Independent Photographer, Gomma Grant, Life Framer, Photo IS:RAEL, Young Guns 17, Tokyo International Photo Award and Photo Vogue and OFF Festival. Her fashion film "Asymptote" (2016), co-created with Adam Csoka Keller, received the "Best New Fashion Film" award at the Fashion Film Festival Milano 2017, and was featured at SHOWstudio Fashion Film Awards, the Austrian American Short Film Festival and at Diane Pernet's A Shaded View on Fashion. Evelyn was selected as one of 30 under 30 Female photographers by Artpil.
Nadia Eeckhout
Nadia Eeckhout
Belgium
I am Nadia Eeckhout, born in Blankenberge (Belgium), but since about thirty years based in Ghent (Belgium), a cozy vibrant city where I often take my pictures. I’ve always been interested in what people think and do but then again, I don’t want to know the full story, leaving space for my imagination to breathe. I’ve shaped my interest in short written stories, drawings and paintings; pen and brush being mine of course. About five years ago (2019), I started photographing on the streets (mainly people) and soon discovered a therapeutic effect of street photography on my mind. To me, it is about being in the open air, with my camera, merged in a crowd that never sleeps, hoping to encounter small -if very lucky poetic- stories I’m eager to catch and frame. I am very much fascinated by the effect of windows, glass or any other transparent medium. They do not only welcome any weather condition on their panes (in this way enhancing mood and triggering my imagination), they are even as generous as to reflect what is on the other side, bringing different stories together, presenting them as a new tale. To be able to capture that tale in a photograph is what makes street photography so interesting and valuable to me. I’ve been shooting through windows for about three years now and it feels like I have not finished the project yet.
Mark Citret
Mark Citret
United States
1949
Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968 and received both his BA and MA in Art from San Francisco State University. Most of Citret's work is not specific to any locale or subject matter. Still, he has worked on many photographic projects over the course of his career and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York's Catskill Mountains. In the mid to late 1980s, he produced a large body of work with the working title of "Unnatural Wonders", which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing "Coastside Plant", a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in 1986, he has been photographing the ever-changing play of ocean and sky from the cliff behind his house. Currently, he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus. He has taught photography at the University of California Berkeley Extension since 1982 and the University of California Santa Cruz Extension since 1988, and for organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops. His work is represented by prominent photography galleries in the United States, and is in many museums, corporate, and private collections, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the New Orleans Museum of Art, the Santa Barbara Museum of Art, the University of Arizona's Center for Creative Photography, and the Monterey Museum of Art. A monograph of his photographs, Along the Way, was published by Custom & Limited Editions, San Francisco, in 1999. He lives in Daly City, California. About Parallel Landscapes
Benjamin De Diesbach
Benjamin De Diesbach
France/Switzerland
1967
Franco-swiss, Benjamin de Diesbach was born in 1967 in Paris. He studied history and political sience. History remains a stong passion for him. As a photographer he started to work in the nineties for the record industry. At the same time, He worked on a series of photographs called "barocco portraits" ("protraits baroques"). These series were inspired by the painting of the fifteen century. Precise in his composition, Benjamin seeks to dramatize extreme situation and extract their inherent beauty. While trying to reflect the tensions felt at the time of the shot, he freezes, like a painter, the instant. Last year, Benjamin was honored by the american magazine Graphis "platinum winner".His works were published by several magazines in France, switzerland and Sweeden. Benjamin de Diesbach photography is described as "Neo classic".
Slim Aarons
Slim Aarons
United States
1916 | † 2006
Slim Aarons was an American photographer noted for his images of socialites, jet-setters, and celebrities. At 18 years old, Aarons enlisted in the United States Army, worked as a photographer at the United States Military Academy, and later served as a combat photographer in World War II and earned a Purple Heart. Aarons said combat had taught him the only beach worth landing on was "decorated with beautiful, seminude girls tanning in a tranquil sun." After the war, Aarons moved to California and began photographing celebrities. In California, he shot his most praised photo, Kings of Hollywood, a 1957 New's Year's Eve photograph depicting Clark Gable, Van Heflin, Gary Cooper, and James Stewart relaxing at a bar in full formal wear. Aaron's work appeared in Life, Town & Country, and Holiday magazines. Aarons never used a stylist, or a makeup artist. He made his career out of what he called "photographing attractive people doing attractive things in attractive places." An oft-cited example of this approach is his 1970 Poolside Gossip shot at the Kaufmann Desert House designed by Richard Neutra, with owner Nelda Linsk as one of the models in the photo. "I knew everyone," he said in an interview with The (London) Independent in 2002. "They would invite me to one of their parties because they knew I wouldn't hurt them. I was one of them." Alfred Hitchcock's film, Rear Window (1954), whose main character is a photographer played by Jimmy Stewart, is set in an apartment reputed to be based on Aarons' apartment. When you photograph a lot of women, you get to know things. -- Slim Aarons In 1997, Mark Getty, the co-founder of Getty Images, visited Aarons in his home and bought Aarons' entire archive. In 2017, filmmaker Fritz Mitchell released a documentary about Aarons, called Slim Aarons: The High Life. In the documentary, it is revealed that Aarons was Jewish and grew up in conditions that were in complete contrast to what he told friends and family of his childhood. Aarons claimed that he was raised in New Hampshire, was an orphan, and had no living relations. After his death in 2006, his widow and daughter learned the truth that Aarons had grown up in a poor immigrant Yiddish-speaking family on the Lower East Side of Manhattan. As a boy his mother was diagnosed with mental health issues and admitted to a psychiatric hospital, which caused him to be passed around among relatives. He resented and had no relationship with his father and had a brother, Harry, who would later commit suicide. Several documentary interviewees postulate that if Aarons's true origins had been known, his career would have been unlikely to succeed within the restricted world of celebrity and WASP privilege his photography glamorized.Source: Wikipedia Slim Aarons was a celebrated American photographer who chronicled the leisurely lifestyle of the rich and famous in his captivating shots of beguiling figures in luxurious environments. The glamorous world of his photographs, in which effortlessly beautiful and wealthy people lounge poolside, became an iconic series that allowed Aarons access to shoot some of the most candid portraiture of the 20th century. We love how Aarons worked without any need for stylists or elaborate lighting, instead preferring to photograph celebrities just as they were, creating alluring scenes that are a window into a different lifestyle. In presenting glimpses of the rich and famous engrossed in leisurely pursuits, the artist exposes elements of a life that would otherwise not be on view, allowing his audience to live the high life - vicariously. Born and raised in New York, Aarons began taking pictures at the age of eighteen, after enlisting in the US Army, where he served as an official combat photographer during WWII. In a career that spanned six decades, Aarons’ camera lens moved from soldiers to stars and celebrities, and the self-proclaimed realisation that the only beaches worth photographing were "decorated with beautiful, seminude girls tanning in a tranquil sun." Over the course of his 50 year career, Aarons was a regular contributor to magazines such as Life, Town & Country, Vogue and Holiday and received an exclusive look into the lives of figures such as the Kennedys, Marilyn Monroe and Grace Kelly. In 1997, Mark Getty of Getty Images bought Aarons’ entire archive of photographs, and published a book of his work Poolside with Slim Aarons a decade later. Aarons’ intimately candid scenes have given him an era-defining legacy as one of the most influential photographers of his generation. Source: Art Republic
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Exclusive Interview with Anastasia Samoylova
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American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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