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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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Eugene Ellenberg
Eugene Ellenberg
United States
1983
I'm an interdisciplinary artist and writer based in the southeast. My practice navigates acceptance, contention, and failure with what it means to be present. I shift between using a large-format view camera for documentary style storytelling and a wooden pinhole box camera exposing film for the duration of a gesture, ritual, or natural occurrence. My non-photographic media sometimes incorporates ready-made, labor related objects such as parachutes, flashlights, and reflectors to explore parallels of search and rescue with mental illness and recovery. As someone who has lost loved ones to substance abuse, and who is personally now on my own path of recovery, I embrace my art practice as a means of self inquiry, healing, and reconciling with the human condition. When I’m not making new work, or spending time with my animals, I split my days between teaching, volunteering at recovery treatment centers, and working on a second masters degree in Art Therapy. These days I’m grateful for good rest, the light that finds us, and shared time with others. In My Father’s House: While visiting my parents during my college years, I photographed a napkin on which my father had written two Elvis song titles, ‘In My Father’s House’ and ‘I Was the One.’ This small note along with others gave me insight to the private introspections of my father, the intimacy of which motivated me to investigate our relationship through the medium of photography. I expounded upon this by documenting various elements of our home and eventually asking others in my family to sit for portraits and to participate in constructed narratives. The majority of these images were captured using a large-format camera, requiring a slower, more meditative process of photographing my family members while also conveying the quiet tone of our relationships at that time. I had unknowingly started a project with an ending already in motion. Three years later, my father would be diagnosed with terminal cancer of the liver and lungs which had already spread to his bones. He was with us for seven days after the diagnosis. In his last days of consciousness, my father began to lose touch with the world and as a family we leaned into a rare embrace of vulnerability and affection. We played his favorite songs on the radio and whispered words in his ear we hadn’t said in such close proximity before. In those final hours, I grappled with my own disconnect as I slipped between the roles of active participant and documentarian. These images blur the lines of what I recall, what I want to admit and perhaps what I wanted to see.
Auguste Belloc
Auguste Belloc
France
1800 | † 1867
Auguste Belloc (1800–1867) was a French photographer, known for his erotic works. He was born in Montrabé, and died in Paris. Belloc began his career as a painter of miniatures and watercolors. Belloc's first photographic studio was mentioned in 1851. Auguste Belloc practiced daguerreotype, he became involved in wet collodion development and improved the wax coating process, helping the photos to keep their wet-like luster. Belloc led also important research about color stereoscopy (3-dimensional photography).Source: Wikipedia Auguste Belloc, born in Paris in 1800, was a portrait miniaturist and watercolor painter. By 1851, Belloc was making portraits with the daguerreotype and calotype processes. He was one of the founding members of the Société Française de Photographie. In the mid 1850’s, he was inventing, manufacturing and selling photographic supplies and equipment, which he continued until his death in 1867. In 1869, Marconi reproduced and published Belloc’s exquisite nudes, which were deemed pornographic at the time. Source: Andrew Cahan Bookseller
Phil Stern
Phil Stern
United States
1919 | † 2014
Phil Stern was an American photographer noted for his iconic portraits of Hollywood stars, as well as his war photography while serving as a U.S. Army Ranger with "Darby's Rangers" during the North African and Italian campaigns in World War II. Settling in Los Angeles after the war, Stern was staff photographer for Look magazine. He also worked for Life magazine and Collier's. He was present on numerous film productions as still photographer, and in that capacity took photographs of a huge cross-section of the film community. Stern's images of Marilyn Monroe, James Dean, Marlon Brando and even musician Louis Armstrong have become widely recognized icons. A lifelong smoker, Stern died at the age of 95 in Los Angeles from COPD and congestive heart failure which he had been battling for over three and a half decades.Source: Wikipedia I’ve taken mountains and mountains of stuff, which I occasionally describe as mountains and mountains of shit. It so happens, there’s a little gem here and a little gem there. You dig out those gems. -- Phil Stern Phil Stern created portraits of stars of the silver screen – including James Dean, Marlon Brando and Marilyn Monroe – that were both iconic and intimate. His subjects looked natural, even self-absorbed or introverted. The lower half of his most famous portrait of James Dean (1955) is a black cable-knit jumper; the upper half reveals Dean’s face only from halfway up his ears. His eyes are rolled up, framed by straight eyebrows. The white plane of Dean’s forehead under a shiny shock of tousled hair, and the pale background, inevitably draw attention to those mischievous eyes, bisecting the frame and challenging the viewer. By contrast, one 1953 image of Marilyn Monroe shows her as wistful and withdrawn, looking into the distance with an air of abstraction, her hands nervously fingering the loosened bow at the waist of her gown. As Stern told Entertainment Weekly in 1993: “I was never interested in the glamour, I was interested in the tears and agony behind it.” His friendship with John Wayne gave him access to perhaps his most subversively casual image. It shows Wayne lighting up, eyeline going straight to a woman’s bared leg. But it’s not what he’s doing but what he’s wearing that draws the viewer’s eye: the cowboy hat and loose jacket conform to type, but below the waist the over-constricting gingham shorts, plump legs and girly espadrilles are a risible disaster. Stern’s pictures of musicians are very different in character. Formal ones – such as of the Rat Pack on stage in 1962 – are mainly of lineups. One senses his preference for the moodiness of Sinatra alone, shot from behind and dressed – as if by Raymond Chandler – in a hat and long mackintosh, pacing down a bleakly dirty corridor towards a dead end. Another Rat Pack member, Sammy Davis Jr, performed a rooftop diamond-shaped jump. Despite his tightly drawn up (and shiny) brogues, his white outfit and right-angled arms with their delicately spread fingers are reminiscent of a Hindu dancer (1947). Stern loved jazz, and he photographed Louis Armstrong in a coincidentally similar pose, not jumping but perched on a stool, trumpet upended on his knee as he looks down and laughs into his chest (1957). Stern enjoyed the image so much that he made a lifesize cardboard cutout of it, and had his own portrait taken alongside. A less artfully composed shot shows Armstrong and Ella Fitzgerald together, in full swing, singing at a studio recording. There was more to Stern’s career than showbiz, however. He enlisted as a combat photographer in the second world war, and won a Purple Heart for his courage and willingness to risk his life picturing infantrymen under fire. Stern documented US troops advancing through north Africa, and was invalided home with severe shrapnel wounds to his arms and neck. In 1943 he returned to cover the Allied invasion of Sicily for Stars and Stripes, the US army magazine. According to his biographer, the journalist Herbert Mitgang: “His pictures of the invasion and its aftermath remain among the most outstanding documents in the annals of combat photography in any war, before or since.” The postwar decades saw a media boom: the heyday of photo magazines and blockbuster movies aimed at a predominantly young mass audience. Stern rode the publicity of a new generation of stars who became, at least in part through his attention, poster pinups. Interviewed later by the Los Angeles Times, he mused on his transfer from war to celebrity photography. “ [The war] very well might have helped me get access ... I don’t really know for sure, because some of them wanted publicity so bad that you didn’t have to have a Purple Heart for that. All you had to have was an expensive camera.”Source: The Guardian Look, Matisse I ain’t. You know how they have on the invitations, “a reception for the artist will be held at...” And I say, “Look, you gotta change this. I’m not an artist. I’m a photographer, a skilled craftsman.” -- Phil Stern
Herb Ritts
Herb Ritts
United States
1952 | † 2002
Herb Ritts began his photographic career in the late 70's and gained a reputation as a master of art and commercial photography. In addition to producing portraits and editorial fashion for Vogue, Vanity Fair, Interview and Rolling Stone, Ritts also created successful advertising campaigns for Calvin Klein, Chanel, Donna Karan, Gap, Gianfranco Ferré, Gianni Versace, Giorgio Armani, Levi's, Pirelli, Polo Ralph Lauren, Valentino among others. Since 1988 he directed numerous influential and award winning music videos and commercials. His fine art photography has been the subject of exhibitions worldwide, with works residing in many significant public and private collections. In his life and work, Herb Ritts was drawn to clean lines and strong forms. This graphic simplicity allowed his images to be read and felt instantaneously. They often challenged conventional notions of gender or race. Social history and fantasy were both captured and created by his memorable photographs of noted individuals in film, fashion, music, politics and society. Ritts was committed to HIV/AIDS related causes, and contributed to many charitable organizations, among them amfAR, Elizabeth Taylor AIDS Foundation, Project Angel Food, Focus on AIDS, APLA, Best Buddies and Special Olympics . He was also a charter member on the Board of Directors for The Elton John Aids Foundation.Source: www.herbritts.com Born in Los Angeles, to a Jewish family, Ritts began his career working in the family furniture business. His father, Herb Ritts Sr., was a businessman, while his mother, Shirley Ritts, was an interior designer. He moved to the East Coast to attend Bard College in New York, where he majored in economics and art history, graduating in 1975. Later, while living in Los Angeles, he became interested in photography when he and friend Richard Gere, then an aspiring actor, decided to shoot some photographs in front of an old jacked-up Buick. The picture gained Ritts some coverage and he began to be more serious about photography. During the 1980s and 1990s, Ritts prominently photographed celebrities in various locales throughout California. Some of his subjects during this time included Cher, Tina Turner. Elizabeth Taylor, Vincent Price, Madonna, Denzel Washington, Johnny Depp, Ronald Reagan, David Bowie, Courtney Love, Liv Tyler, Matthew McConaughey, Britney Spears, Björk, Prince, Michael Jackson, Axl Rose, Slash, and Mariah Carey. He also took many fashion and nude photographs of fashion models Naomi Campbell, Stephanie Seymour, Tatjana Patitz, Christy Turlington, and Cindy Crawford, including "Tatjana, Veiled Head, Tight View, Joshua Tree, 1988." Ritts' work with those models ushered in the 1990s era of the supermodel and was consecrated by one of his most celebrated images, "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" taken for Rolling Stone Magazine. He also worked for Interview, Esquire, Mademoiselle, Glamour, GQ, Newsweek, Harper's Bazaar, Rolling Stone, Time, Vogue, Allure, Vanity Fair, Details, and Elle. From 1996 to 1997 Ritts' work was displayed at the Museum of Fine Arts in Boston, attracting more than 250,000 people to the exhibit, and in 2003 a solo exhibition was held at the Daimaru Museum, in Kyoto, Japan. On December 26, 2002, Ritts died in Los Angeles of complications from pneumonia at the age of 50. Ritts was openly gay, and according to Ritts' publicist, "Herb was HIV-positive, but this particular pneumonia was not PCP (pneumocystis pneumonia), a common opportunistic infection of AIDS. But at the end of the day, his immune system was compromised."Source: Wikipedia
Kaveh Maghsoudi
Kaveh Maghsoudi
Iran
1986
I am Kaveh Maghsoudi, an Iranian photographer navigating both the limitations and freedoms that come with life in Iran. I began capturing images in 2011. For me, photography is a way to express feelings and observations that others might overlook—the details of everyday objects, cultures, and people around me, as well as emotions within me that words cannot convey.
Anaïs Boileau
Anaïs Boileau
France
1992
Anaïs Boileau is from the south of France. She completed training in photography and visual communication at ECAL, the art school from Lausanne. She works in 2012 with the photographer Charles Freger and in 2014 she gets a residency at the Hong Kong Design Institute. Her photographic work is presented in various group exhibitions. In 2015, her photographic project Plein Soleil is part of the Black Mirror exhibition in New York, organized by Aperture Foundation, and is presented to Katmandu Photo festival in Nepal. It is selected to Boutographies 2016 projection of the jury and is one of ten finalists presented at the 31st edition of the international fashion and photography festival in Hyères at the Villa Noailles where she received the audience award and the Elie Saab grant.My work "Plein Soleil" is about a kind of community women taking the sun. These are women with golden skin exposing themselves under the omnipresent sun. They stay along the coast of the seaside towns marked by Latin, bright and colorful architecture. There is a temporality game beetween women and architectures because they are modeling in the same way by the sun light. These portraits represents a kind of happy idleness that exist in south. I try to bring a look a bit funny and tender about that women cause it was like a game with them about their image. Lost behind their sunglasses, accessories, women are distant, pensive as absorbed by the sun. We never see their eyes with their solarium glasses and that make them impersonal. Floating Between documentary and fiction, the portraits of this matriarchal community, reveal a desire for exoticism. There is a dimension of artificiality and something false in all that . The idea that they put forward, they refine and polish their bodies but also in the idea that all this is just a world of appearance, of surfaces.
Alan Henriksen
Alan Henriksen
United States
1949
Alan Henriksen was born in 1949 in Richmond Hill, Queens, New York, and has lived his entire life on Long Island. He became interested in photography as a hobby in 1958, and began making contact prints in late 1959. His interest became serious following a chance discovery of the work of Edward Weston and Ansel Adams at the local library. Henriksen holds college degrees in Psychology and Computer Science and is now retired from a long career in software engineering. Beginning in the mid-1970?s he worked for nearly ten years at Agfa-Gevaert’s photo paper manufacturing plant on Long Island as a sensitometrist and software engineer. In the late 1980?s he authored a Zone System software program named ZoneCalc, which was marketed by the Maine Photographic Resource. In 1968 he and his wife Mary made their first visit to the Maine coast, starting a photographic project that continues to this day. They now divide their time between their homes in Smithtown, Long Island and Southwest Harbor, Maine. All about Alan Henriksen:AAP: When did you realize you wanted to be a photographer?Although I had already been photographing as a hobbyist for six years, my interest became more serious in 1964 when, during a library visit, I chanced upon Peter Pollack's book, "A Picture History of Photography," and opened it to the section devoted to the work of Edward Weston.AAP: Where did you study photography?My formal photographic education was limited to the 1970 Ansel Adams Workshop in Yosemite National Park.AAP:Do you have a mentor?In 1967 I composed a letter and sent it, along with some prints, to Ansel Adams in Carmel. Toward the close of his two-page single-spaced typewritten reply he wrote, "I want to follow your work and see more of your prints." This began a correspondence, soon supplemented with phone calls, that lasted until 1970, at which time I attended his Ansel Adams Workshop in Yosemite National Park.AAP: How long have you been a photographer?I began photographing in 1958, purely as a hobby, and began printing in 1959.AAP: Do you remember your first shot? What was it?The first photograph I remember taking was made in 1958. I photographed my neighbor while she was leaning into a baby carriage to tend to her child.AAP: What or who inspires you?I do not believe in inspiration; I believe in simply working, and working simply. When photographing, my ideas arise directly from my exploration of the subject matter at hand. But I cannot say why I find a certain bit of the world, seen from just such an angle, in a certain light, interesting.AAP: How could you describe your style?I do not consciously try to apply a style to my photographs. I believe in the maxim, "Style does not precede; it results." Although there is a kind of consistency to my photographs over the years, and more so during any particular period, that is presumably because I have remained roughly the same person.AAP: What kind of gear do you use? Camera, lens, digital, film?I currently work with a Canon 5D Mark II and various Canon lenses.AAP: Do you spend a lot of time editing your images?I take an iterative approach to image editing, generally performing several editing passes. I like to leave some time between each pass in order to help me see the image with fresh eyes during each session. I consider an image completed (for the time being) when I view the image and it seems to "work" as is. For some images the editing process is completed within a few sessions, while others take much longer.
Margo Davis
Margo Davis
United States
1944
Margo Baumgarten Davis is a photographer, educator and author of several photographer's books. Margo was raised in Connecticut and has lived for over 30 years in Palo Alto, California. She attended Bennington College, spent time at the Sorbonne studying French literature, and graduated from University of California, Berkeley. It was at UC Berkeley where she met her first husband Gregson Davis and traveled frequently to his home country of Antigua. She has a daughter, Anika and a son, Julian. Davis has produced photography in Paris, Italy, Nigeria and in the Caribbean, and has done a significant amount of portraiture. Davis has photographed Saul Bellow, Maxine Kingston, Tillie Olsen, Ursula K. Le Guin, Diane Johnson, and Kay Boyle. In Nigeria, Davis produced a number of photographs of the Fula people. Davis has spent time lecturing at Stanford on photojournalism with the communications department. She has also taught photography at University of California, Berkeley, and University of California, Santa Cruz. In 2017, Margo's book Antigua: Photographs 1967-1973 was published by Nazraeli Press. At interview, Margo said she produced the book after hearing interest expressed at an exhibit in Antigua. Antigua As young artists, we are drawn to projects that help us understand truths about who we are and what we want to become. When we are just starting out, that process is intuitive, at times random; it is also intense and thrilling. This was my experience when I began photographing in Antigua in 1967. It was the very beginning of a long journey in photography that is evolving to this day, 40 years later. From my first days in Antigua, I was overwhelmed by the timeless beauty of the place and especially by the strength of its people. I was born on the East Coast of the United States, a few thousand miles to the north. I was welcomed into a world and culture different from my own. Starting with the Antigua photographs in this exhibit, my life's journey has been with a camera and with an eye for the landscape of the human face. Although I was often moved to photograph the beaches and sunsets, and the shapely old sugar mills and estate houses of the island, I am primarily a portraitist. Drawn to the people of the villages that dotted the island, my early inspirations came from the faces you see here. Whenever possible, I asked permission to photograph - because the power of my portrait style depended on the comfort of the people that I was photographing. Since those early years, my interest in humanistic photography has propelled me into the world of various cultures. I have exhibited those photographs internationally and produced four books. However, it was on the island of Antigua where my passion for photography first began to flourish. Antigua Black; Portrait of an Island People was created and published in 1973. I want to thank again all the Antiguans who helped make this collection possible. Margo Davis Discover All American
Josephine Sacabo
Josephine Sacabo
United States
1944
Artist Statement: "I believe in Art as a means of transcendence and connection. My images are simply what I’ve made from what I have been given. I hope they have done justice to their sources and that they will, for a moment, ‘stay the shadows of contentment too short lived.’” Sacabo divides her time between New Orleans and Mexico. Both places inform her work, resulting in imagery that is as dreamlike, surreal, and romantic as the places that she calls home. Born in Laredo, Texas, in 1944, she was educated at Bard College in New York. Prior to coming to New Orleans, Sacabo lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition and influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style, using poetry as the genesis for her work. Her many portfolios are visual manifestations of the written word, and she lists poets as her most important influences, including Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Her images transfer the viewer into a world of constructed beauty. During her 36 year career her work has been featured in over 40 gallery and museum exhibitions in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothèque Nationale, Paris, France. Source: josephinesacabo.com
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