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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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

Sajedeh Zarei
I am an Iranian documentary photographer based in Shiraz, Iran. I was born in 1983 and have a MSc degree in Geology. Being a photographer has been my lifelong goal so I started photography since March 2018 and I left my job as an associate research director to focus all my attention on visual storytelling. As part of my career, I have performed some researches in water management and climate change. That is why my photography projects focus on environmental issues and their social impacts. In addition, cultural and social themes attract my curiosity. My aim is to photograph people and create stories that witness the multiplicity of human experience. The Longest Paths Begin With A Step Patrilineal is one of the important indicators of male superiority over women that is observed in all patriarchal societies such as Iran. The patriarchy considers the continuation of the generation through men. This project is about a rural mother who has been trying to change this belief and tradition since her pregnancy and provide an environment free of discrimination between her six-year-old daughter and her son. Although maintaining this balance in the village is difficult due to group life, but the mother's efforts have been so successful that the girl's relationship with her brother is sincere and away from jealousy. This project has started since the mother's pregnancy, about 17 months ago, and is a continuation of the project that started about 2 years ago in one of the remote villages of Fars province in southwestern Iran. This project is still ongoing. Under the Roof of the Davar
Nelli Palomäki
Finland
1981
Nelli Palomäki was born 1981 in Forssa, Finland. At the moment she lives and works in Karkkila and Helsinki, Finland. Her timeless portraits of children and young people reveal the fragility of the moment shared with her subject. Palomäki’s photographs deal with the growth, memory and our problematic way of seeing ourselves. One of the crucial themes in her portraiture is our mortality. She describes: “We fight against our mortality, denying it, yet photographs are there to prove our inescapable destiny. The idea of getting older is heart-rending.” She is a graduate of Aalto University School of Art, Design and Architecture in Helsinki. Palomäki’s works have been exhibited in numerous international solo and group exhibitions. Selected solo shows: Shared (Galerie Les Filles du Calvaire, Paris 2018), Shared (Gallery Taik Persons, Berlin 2017), Jaettu (Forum Box, Helsinki 2016), Breathing the Same Air (Ordrupgaard Art Museum, Copenhagen 2013), Nelli Palomäki (The Finnish Museum of Photography, Helsinki 2013), Sons of Nakhimov (The Wapping Project Bankside, London 2012), As time consumes us (Les Rencontres d’Arles, Discovery Award 2012), As time consumes us (Kulturhuset, Stockholm 2011), Elsa and Viola (Next Level Projects, London 2011), Elsa and Viola (Gallery TAIK, Berlin 2009), I, Daughter (Turku Art Museum, Turku 2008). Her photographs have been shown in several group shows including Helsinki City Art Museum, Hasselblad Foundation in Gothenburg, Bruce Silverstein Gallery in New York, Daegu Photo Biennale in South Korea, The National Museum of Photography in Copenhagen, Purdy Hicks Gallery in London and Aperture Gallery in New York. Palomäki’s photography has been featured in several publications such as TIME magazine, British journal of photography, Independent magazine, New York Magazine, Zoom and Exit. Her book Breathing the Same Air was published spring 2013 by Hatje Cantz. In spring 2010 Palomäki placed 2nd in Sony World Photography Awards in portraiture category and the same year Hasselblad Foundation awarded her the Victor Fellowship Grant for the studies in London. She has been selected as one of the young emerging artist for the reGeneration2–Tomorrow's Photographers Today project. In summer 2012 Palomäki was nominated for the Discover Award at the Rencontres d’Arles in France. Permanent collections include: Moderna Museet in Stockholm; The Hague Museum of Photography, Hasselblad Foundation in Gothenburg and Helsinki Art Museum. Palomäki is represented by Gallery Taik Persons (Berlin), Galerie Les filles du calvaire (Paris) and Jackson Fine Art (Atlanta). Source: nellipalomaki.com About The Work Seen and captured by someone else’s eyes reminds us that the image we have of ourselves is not absolute, it is not truthful. In many senses the mirror lies more than a photograph. We learn to see ourselves in such a one-dimensional way, that hardly any image can satisfy us anymore. While time gnaws away at the faces of us and our close ones, we return to look at the pictures from our past. As beautiful or poignant as an image may be; as much as we could garner from it emotionally, the feeling for which we search remains intangible and elusive. We will never fully comprehend or recreate the moment, it died at the moment of its’ birth. Sadly, the portrait is just a shadow of our meeting, a small stain of the time we spend together. Each and every portrait I have taken is a photograph of me too. What I decide to see, or more likely, how I confront the things that I see, inevitably determines the final image. But more than that, the intensity of the moment shared with the subject, controls the portrait. As we stand there, with our grave faces, breathing the same heavy air; never so aware of each other’s details. One blind and lost without seeing his own appearance, one desperately trying to reach the perfect moment. The complexity of portraiture, its greatest trap, eventually always lies on its power relationships. What I desire to find and to reveal might be someone’s secret. These secrets, finally shown to the viewers, as they were mine. A portrait remains forever. It is a desperate way to stay connected to someone who, though possibly a stranger, remains so familiar. It is my way of preserving a part of that person, embalming them. Through the portrait I build a relationship with my subject. I carry my subject’s memories with me, memories, as they are, being so intimately connected with photographs. Secretly I study their faces. This is how I remember them. I wonder how they remember me. As the time eats slowly away at us, I still hold these images of them, like they are the only way I ever knew, or will know these people. And that ever pervasive feeling; I met them. They will die and eventually I too will die.
Barbara Cole
Canada
1953
For the last forty-five years, artist Barbara Cole has been recapturing the otherworldly mysteries of early photography in a body of work that flows in and out of time. Born in 1953 in Toronto, Canada, Cole, eager to shape a place for herself at an early age, quickly turned to art. Immediately out of high school, she began modeling for a newspaper and soon became fashion editor for the following ten years. Her early start in fashion and self-taught practice have informed her intuitive photography that undulates between tradition and invention. Her inventor's spirit is evident in her preference for raw, hands-on photographic methods. From turn-of-the-century cameras, shadow boxes, darkrooms, and tintypes-she engages directly in shaping her images in order to impart deeply personal truths. The underwater photography for which Cole is most known started in the late 1990s. Once, submerged in her pool, she opened her eyes and what she saw reminded her of the Polaroid film she was so fond of until it eventually went out of production. She has been searching for timelessness ever since. The wavy, enigmatic waters are often juxtaposed against weightless figures, forming her signature, velvety dreamscapes. In these figures we see human beings who are just-just-on the verge of forming complete selves, suggesting we are always in the process of recreating ourselves, always striving to reach new heights. As an innovator in her field, Cole ventures into territories full of light and shadow, memory and dreams, with imagery that is nothing short of exaltation. Whether reincorporating twenty-year-old images in current underwater photography, or reimagining a modern format for the turn-of-the-century tintype, Cole's work shortens the distance between past and present. For Cole history is written in water. Cole has held numerous exhibitions across North America, Europe, and the Middle East. Her work has also been extensively commissioned internationally for corporate collections. She has exhibited in the Canadian Embassy in both Tokyo and Washington D.C. The acclaimed documentary series, Snapshot: The Art of Photography II, features an episode devoted exclusively to Cole's photographic practice. Cole currently lives and works in Toronto. Articles Exclusive Interview with Barbara Cole Barbara Cole and Wet Collodion Photographs Galleries Bau-Xi Gallery Galerie de Bellefeuille Art Angels Holden Luntz Gallery NOX Contemporary Art Space
Kinga Owczennikow
A native of Poland, Kinga Owczennikow is an art photographer who considers her practice as a collaboration with the world. Kinga spent most of her adult life in metropolises like Hong Kong, London, Ho Chi Minh City or lesser known places such as Tirana or Paro, in the Himalayas. Having the outsider/insider point of view has been especially valuable to her photographic practice throughout the years. This constant geographical movement permitted her to retain the innocence of curious and attentive eyesight, at the same time gradually building an extensive experience of the wider world. Kinga is currently based in the Bay Area, in California. Kinga first studied photographic theory and practice at the Warsaw School of Photography. She holds a BA (Hons) in Photography from the University for the Creative Arts in the UK. Kinga is an Associate of the Royal Photographic Society, a member of the Center of Photographic Art and the Griffin Museum of Photography. She is also a part of RPS’s Women in Photography group. Kinga had a solo exhibition “The secret paths of Hong Kong” at the Asia and Pacific Museum in Warsaw, in 2011. She was a finalist of the Mediterranean Spirit at the PhotoMed Awards, 2016, and a finalist in the Association of Photographers Student Awards 2019, in the category Places (single photo) and the AOP Student Awards 2020 in the category Things (series). Her photographic work has been exhibited in group shows in the UK, Hungary, France, Spain, Italy, Netherlands, Greece and the United States. 30 of her photographs, including the cover image were featured in Tom LeClair’s novel “Passing Again”, published by I-BeaM Books (2022). Most recently, two of her photographs were selected as part of the 2023 International Juried Exhibition held at the historic CPA in Carmel-by-the-Sea. Framing the World All photographs frame the world. “Framing The World” presents photographs with internal frames, how they sharpen focus on the world and refine viewers’ understanding of viewing - of both the world and photographs. Frames within the photograph’s frame suggest that the photograph self-consciously occupies art space - close viewing space - and these frames invite analysis, interpretation, and appreciation. Internal frames can attract and resist, reveal or deceive, imply their own limitations. Even imply viewers’ limitations, the cognitive frames through which they process the world. by Tom LeClair
Ron Cooper
United States
I am a travel, documentary and portrait photographer based in Denver, CO. I began exploring photography ten years ago after retiring early from a corporate career. I travel extensively in pursuit of images that reflect local cultures and people. My emphasis in recent years has been on portraiture with the objective of “introducing” viewers to the people I meet and photograph at home and around the world. My work has been exhibited in juried group shows at Colorado Photographic Art Center (Denver, CO), Center for Fine Art Photography (Ft. Collins, CO), Southeast Center for Photography (Greenville, SC), Naples (FL) Art Association, PhotoPlace Gallery (Middlebury, VT), ACCI (Berkeley, CA), A. Smith Gallery (Johnson City, TX), Blackbox Gallery (Portland, OR), Click! Photography Festival (Raleigh/Durham, NC), Midwest Center for Photography (Wichita, KS). Solo exhibitions include: Asian Journeys (2016) at Gallery MFC, Denver, CO; Faces (2016) at the Hamilton Family Gallery, Children's Hospital of Colorado, Aurora, CO; Faces of the American West (2016) at The Darkroom, Longmont, Colorado; and Pleased to Meet You: Portraits from Places Near & Far (2018) at Gallery MFC, Denver, CO; and Keepers of Tradition (2019) at Robert Anderson Gallery, Denver, CO. My photographs have been published in Black & White Magazine, Monovisions Magazine, AAP Magazine, PDN, New Mexico Magazine and Photographer's Forum. My portraits celebrate humankind. I've been privileged to meet and photograph people in may different places - across five continents, diverse geographies, cultures and ways of life. My objective is to make interesting, accessible and compelling images that tell a story or convey a sense of place and personality. As a matter of respect and courtesy, I always engage with my subjects, asking permission to make their portrait. My request is sometimes met with skepticism. Occasionally I'm turned down. More often, however, my approach results in a conversation - sometimes quite brief, and often through sign language or a translator. That conversation - whatever it's form - yields a connection that I hope is reflected in the final image. I favor simple compositions - straightforward and tightly framed. This approach directs the viewer's attention to the subject's eyes. In most of my images the individuals are looking directly at the camera and, by extension, at us. This approach feels honest and straightforward. The great majority of my portraits are made in natural surroundings with available light. No studio, no strobes. This approach is less intimidating and less formal. It improves the chances of capturing a genuine portrait, an unguarded moment that reveals something of the person behind the photograph. My portraits document the amazing diversity in appearance, lifestyle and circumstances of the people I meet in my travels. At the same time, I hope the message that stays with the viewer is, despite our many superficial differences, our shared humanness connects all of us in the human tapestry.
Yas Crawford
United Kingdom
1961
Yas Crawford was born in Pembrokeshire in Wales where the geological landscape and biological make-up have subliminally influenced her work. Yas has had a career in geology, microbiology and life sciences, only later finding her way into photography. She now works in the 'Grey Space' between disciplines, connecting them via internal and external human landscapes often revealing micro and macro environments intertwined. She attempts to explain the emotion, not necessarily the science. She examines the point where science falls short and art steps in. Using digital and analogue photography, Yas's work has naturally developed in a fine art form because this is how she imagines the condition or the situation. Her multidisciplinary background enables her to explore abstraction, recognise areas of ambiguity often through topographical and geometrical shape. The repetitive nature of Yas's images reveals her scientific thinking: the constant production of sets of images produced as if they are a scientific experiment, carefully catalogued for success or failure and reflected in the images' numbering. The abstraction in her images gently removes the objectivity, however, and leaves her imagery open to everyone for interpretation, making it a safe place for her audience to absorb the information. Yas's work has been exhibited internationally, won several awards for her work and a finalist at the RPS Science Photographer of the Year 2019 with 'Oxygen Ib' A Biological Journey Biology defines us, it's almost rule-less unlike physics and chemistry, which are laden with laws, regulation and procedure, a necessity but limited. The path of the cycle of life remains in the 'Grey Space' that space in-between disciplines and is challenging. The Holocene Epoch; a journey of geological creation, the first life on earth, adapting genetics, human behaviour and interaction, environmental change and viral contamination remains a biological mystery undefined, ambiguous, unknown and often uncontrolled by humankind. Working within the 'Grey Space' I anticipate a journey tracing time, stimulating our senses, finding consciousness in the subconscious and allowing us to live, for a moment, in the present.
Chuck Fishman
United States
1953
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