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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Denis Olivier
Denis Olivier

Denis Olivier

Country: France
Birth: 1969

My first encounter with photography took place when my parents performed some strange static dances with an object in front of their face. Later they would close themselves up in a special room under the house for long periods of time, and no one was allowed in. They diligently made sure that they were left to their own devices while inside. One day I was given permission to enter the room and allowed to stay, but on the condition that I didn't move or went out. I remember there was a unique chemical perfume and a red light.

I was bewildered: my parents appeared flashing a white light on a piece of paper using a strange apparatus. Then they dipped it into a clear liquid and Behold! I couldn't believe it, A miracle! They were wizards who created pictures.

In the following years I didn't really follow his experiments, I was too young to manipulate cameras and I preferred to draw. Photography, Architecture and Art was always present around us and I still remember the black and white exhibitions that we visited.

When I was a teenager, I continued to draw and started to paint a little. I even took part in some local exhibitions. At the age of 17 I began to take some photographs, I was especially fascinated by mineralogical micro mounts. I started studying biochemistry, but after 3 years I changed to Poitiers school of fine-arts, and took an interest in computer graphics and generated imagery.

While I was there I meet Alain Fleig who introduced me to art photography. I also felt a need to practice photography, and with a friend we spent a lot of time learning how to develop films and photographs. We did sessions with models, scenery, and discovered France.

The second year I had my first personal exhibition in a gallery, which was a great experience, then a training placement with Philippe Salaün, who was at this time Robert Doisneau's developer. Following this I did some jobs for organizations, shows and commissioned works. I then started in December 1995 working with computer graphics and made use of the Internet.

I worked in artistic direction for several years, then digital cameras came along and I found a way to work quickly and experiment without using too many resources such as film, chemicals, photo sensitive paper and of course the wonderful resource of water.

Websites

denisolivier.com

artlimited.net

 

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Wayne Miller
Wayne Miller
United States
1918 | † 2013
Wayne Forest Miller (September 19, 1918 – May 22, 2013) was an American photographer known for his series of photographs The Way of Life of the Northern Negro. Active as a photographer from 1942 until 1975, he was a contributor to Magnum Photos beginning in 1958. Miller was born in Chicago, Illinois, the son of a doctor and a nurse, who gave him a camera as a high school graduation present. He went on to study banking at the University of Illinois Urbana-Champaign, while also working on the side as a photographer. From 1941 to 1942 he studied at the Art Centre School of Los Angeles. He then served as a lieutenant in the U.S. Navy where he was assigned to Edward Steichen's World War II Naval Aviation Photographic Unit. He was among the first Western photographers to document the destruction at Hiroshima. After the war he resettled in Chicago. He won two consecutive Guggenheim Fellowships in 1946-1948, with which he worked on The Way of Life of the Northern Negro. These images were published in his book Chicago's South Side 1946-1948,. This project documented the wartime migration of African Americans northward, specifically looking at the black community on the south side of Chicago, covering all the emotions in daily life. The people depicted are mostly ordinary people, but some celebrities appear, such as Lena Horne, Ella Fitzgerald, Duke Ellington and Paul Robeson. Wayne Miller taught at the Institute of Design in Chicago before commissioning a Modernist house for their growing family from architect Mario Corbett in Orinda, California in 1953. He was freelancing for Life and with his wife Joan also worked with Edward Steichen as an associate curator for The Family of Man exhibition and accompanying book which opened at New York City's Museum of Modern Art in 1955. Steichen selected eight of Miller's photographs, including two of the birth of the photographer's son, for the show which traveled the world and was seen by more than 9 million visitors. Miller died on May 22, 2013, at his home in Orinda, California, age 94, survived by his wife of 70 years, the former Joan Baker (January 21, 1921 – March 7, 2014), and children Jeanette Miller, David Miller, Dana Blencowe, and Peter Miller. The Wayne Miller Archive is held at the Center for Creative Photography (University of Arizona). Source: Wikipedia Born in Chicago, Wayne F. Miller studied banking at the University of Illinois, Urbana, while working part-time as a photographer. He went on to study photography at the Art Center School of Los Angeles from 1941 to 1942. Miller served in the United States Navy, where he was assigned to Edward Steichen’s Naval Aviation Unit. After the war he settled in Chicago and worked as a freelancer. In 1946-48, he won two consecutive Guggenheim Fellowships and photographed African-Americans in the northern states. Wayne Miller taught photography at the Institute of Design in Chicago, then in 1949 moved to Orinda, California, and worked for LIFE until 1953. For the next two years he was Edward Steichen’s assistant on the Museum of Modern Art’s historic exhibit, The Family of Man. A long-time member of the American Society of Magazine Photographers, he was named its chairman in the summer of 1954. He became a member of Magnum Photos in 1958, and served as its president from 1962 to 1966. His ambition throughout this period was, in his words, to “photograph mankind and explain man to man”. Having been active in environmental causes since the 1960s, Miller then went to work with the National Park Service. He joined the Corporation of Public Broadcasting as executive director of the Public Broadcasting Environmental Center in 1970. After he retired from professional photography in 1975, he devoted himself to protection of California’s forests. Along the way, Miller co-authored A Baby's First Year with Dr Benjamin Spock, and wrote his own book, The World is Young.Source: Magnum Photos
Donell Gumiran
Donell Gumiran
Philippines
Donell Gumiran is a Design & Senior Art Director based in Dubai."Every time I press the shutter, it seems like it's an extension of my personality,"- Donell Gumiran. He sees himself as an image-maker who captures and tells a story in a photograph. The Filipino lensman sees his photography as an art form, borne from his desire to create on canvas and his professional training in design, when he worked as a design director in a creative agency. Now based in the U.A.E. Donell is known for his evocative portraits and travel photography. His favorite subjects are those that capture human conditions and emotions in everyday life. His knack for sharing his stories, captured through the lens, has won him international recognitions. He is the recipient of numerous awards both local and international. Donell Gumiran is also photographer & contributor for Asian Geographic Magazine. Recently, He won in Tokyo Foto Award, Japan - Gold 2019, 1st Prize in documentary category 2018 - International Photography (IPA) Awards Los Angeles, USA. 1st Place Winner 2018 The Independent Photo Travel Award, Berlin, Germany - He was adjudged the 2017 grand prize winner of the Travel Photographer Society International Photography Contest Awards in Kuala Lumpur, Malaysia in 2017 and was awarded as "Portrait Photographer of the Year 2017" for Asian Geographic Images of Asia for its Asia without Borders program in Singapore. Donell Gumiran also awarded as Photographer of the year by the Filipino Times 2017 UAE. In addition, he was also one of the winners in the Life Framer World Travelers Competition judged by magnum photographer Steve McCurry. Most of his works have been exhibited in New York, Tokyo,and Rome. He was awarded also as Curtin Dubai's Photographer of the Year - Urban Art Festival 2018. On the home front, Donell was recently chosen by the National Commission for Culture and the Arts under the office of the President of the Philippines to receive the coveted "Ani ng Dangal Award 2018 & 2019." "I think my real accomplishment was that I was able to use photography as a significant instrument to help the world for the better. My work gives me a chance to capture and preserve memories of our time." He sits on the Board of Directors as creative director of Team Juan Makasining, and uses this position to encourage other photographers to express themselves through their art. "Start as passion, not as a profession." - Donell Gumiran
Chien-Chi Chang
Chien-Chi Chang
Taiwan
1961
Chien-Chi Chang is a photographer and member of Magnum Photos. Chang was born in Taichung, Taiwan. He received an MS from Indiana University, Bloomington and a B. A. from Soochow University, Taipei. He joined Magnum Photos in 1995 and was elected as a full member in 2001. He lives in Taichung, Taiwan and Graz, Austria. Chang focuses on the abstract concepts of alienation and connection. The Chain, a collection of portraits made in a mental asylum in Taiwan, was shown at Venice Biennale (2001) and the São Paulo Art Biennial (2002). The nearly life-sized photographs of pairs of patients chained together resonate with Chang's look at the less visible bonds of marriage. At São Paulo Art Biennial he was involved in the Thomann controversy. Chang has treated marital ties in two books: I do I do I do (2001), a collection of images depicting alienated grooms and brides in Taiwan, and in Double Happiness (2005), a depiction of the business of selling brides in Vietnam. The ties of family and of culture are also the themes of a project begun in 1992. For 21 years, Chang has photographed and videoed the bifurcated lives of Chinese immigrants in New York's Chinatown, along with those of their wives and families back home in Fujian. Still a work in progress, China Town was hung at the National Museum of Singapore in 2008 as part of a mid-career survey and at Venice Biennale (2011) as well as at International Center of Photography, New York (2012). Chang's investigation of the ties that bind one person to another draws on his own divided immigrant experience in the United States.Source: Wikipedia Chien-Chi Chang has always been fascinated by the human conditions of alienation and connection. Both are in evidence in his signature work, The Chain, which is a collection of portraits made of inmates in a mental asylum in Taiwan. The subjects are people who have had their bonds to the rest of society – family, community – servered. And yet, as part of their treatment, they are chained to one another, physically linked in pairs throughout their days and only unlocked to sleep. These powerful photographs, nearly life size, have been exhibited at the Taipei Fine Arts Museum (2001), La Biennale di Venezia (2001), and the Bienal de Sao Paolo (2002). Less visible bonds were the subject of another project: A jaundiced look at the ceremony surrounding the union of two people. When his parents began pressuring him to marry, Chang responded by making pictures at weddings in Taiwan. The images are hardly festive, rather emphasizing alienated grooms and lonely brides. They have been collected in the book, I do I do I do. This meditation on the nature of the ties that bind a person to others and to society is a natural outgrowth of Chang's own experience of the divided life of an immigrant. The son of working people in central Taiwan, he received a Bachelor of Arts degree from Soochow University in Taiwan in 1984 and a Master of Science degree at Indiana University in 1990. He then became a staff photographer at The Seattle Times (1991-1993) and The Baltimore Sun (1994-1995). Over the past decade, he has worked in New York's Chinatown, documenting the lives of immigrants there. These pictures of illegal aliens stranded on an island within an island have appeared in National Geographic magazine, as well as The New Yorker, TIME Magazine and German Geo. The series earned Chang first place in the category "Daily Life Story" from World Press Photo in 1999. That same year, Chang won a grant from the W. Eugene Smith Memorial Fund for humanistic photography and was awarded the Visa d'Or in magazine photography in Perpignan. He was named the Missouri/NPPA 1999 Magazine Photographer of the Year.Source: artasiamerica Chien-Chi Chang’s photography and films explore the abstract concepts of alienation and connection. His investigation of the ties that bind one person to another draws on his own deeply divided immigrant experience, as he explores the contrasting themes of hope and darkness, restriction and freedom. Chang’s long term interest in the manifestation of restriction and freedom was explored in his project on North Korean defectors. From 2007 to 2009 , Chang travelled with North Korean defectors to document their incredibly harrowing journey escaping to China. Between 2008-2012, Chang worked on a project called Jet Lag, which explored the globalised disconnect of the “jet-setting” lifestyle, culminating in a book of the same name, published in 2015.Source: Magnum Photos
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Yoni Blau
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I consider myself a travel photographer, but my primary focus is on people and cultures rather than nature, landscape and wildlife. I was fortunate enough to be able to spend a good amount of time traveling and I genuinely wish I will be able to keep exploring this beautiful planet of ours and the fascinatingly different cultures around the globe. Proud Women of the Omo Valley This project ("Proud Women of the Omo Valley") was taken inside a Suri tribe in the Omo Valley in Southern Ethiopia. The models were not dressed, simply recorded as is. No artificial lighting was used. The pictures with the black backdrop were taken within a dark tent with the light coming in from the entrance of the tent. In the Omo Valley, it feels as if time has no meaning. Days, months, seasons and years are irrelevant in this timeless corner of the world. Same goes for the concept of money, or the modern angst that comes with intellectual pursuit of the meaning of life and death. There, it's about life's essentials. It's about freedom and bare necessities. About being satisfied, joyful and surrounded by loved ones. I tried capturing the essence of what it means to be "stuck in time" which made me keep wondering whether they were left behind or whether the modern world is the one who made the wrong turn. This project taken in Dec 2019 feels more current than ever, especially in times like these with the Covid-19 global health crisis and the economic downturn, when we all got to spend some alone time and got back in touch with our most basic human needs and what "really matters".
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Mitch Rouse
United States
1940
Mitch was a transportation entrepreneur in Long Beach, and is now a photographer based out of Cody, Wyoming. Before Mitch shot aerial images, he was an avid self-taught landscape photographer. In the realm of aerial photography, he began with with high tech drones and evolved into flying fixed wing. Unsatisfied with the limitations of these methods, he has now found the sweet spot between the two, by developing a system that incorporates a Bell helicopter with a 150 MP Phase One Industrial camera, inside a Shot Over gimbal, mounted to its nose. Mitch most enjoys shooting abstract land patterns and beautiful farmlands throughout the western states. He is also interested in industrial sites including agriculture, transportation, shipping, ports, solar power, wind power, oil and gas. His current projects include Los Angeles - Long Beach Harbor, piers of California, highway interchanges, oil and gas fields in the Central Valley of California, agriculture in the Central Valley of California, and agriculture in the Palouse region Washington, Oregon and Idaho. Top Views of The Palouse Symmetrical farmscapes and the asymmetrical patterns of natural landscapes have always been intriguing to Mitch Rouse, a photographer based out of Cody, Wyoming. Over the last four years, his passion for landscape photography and his deep desire to capture a unique perspective, evolved into taking to the skies with the right technology to capture those exclusive scenes from above. The Palouse in SE Washington is one of his favourite places to explore. Due to its geological heritage, the rolling hills of grasses are an endless sea. Farmland is scattered over this peculiar dune-like landscape, which formed sometime during the last several ice ages, when glacial silt was blown across the region forming dunes called "loess". The farmers who settled on this land had to develop methods of successful harvesting, where to avoid the steep slopes becoming hazardous to their tractors and combines, they would plough along the contours of the hills, this led to the use of special self-levelling harvesters that can cut crops safely and efficiently by constantly adjusting to the different gradients of the slopes. As you can imagine, the lines and patterns that these farming techniques produce, combined with the already picturesque landscape, are captivating from the air. These aerial photographs of The Palouse captured by Mitch, resemble topographical maps where the colour contrasts, line patterns and contour shapes have become a distinctive form of art. Two seasons in The Palouse are equally magnificent in their colours and textures. Mitch enjoys capturing both the vibrant green silky grass seas of Springtime, and the golden brown rough textures of the Harvest. The most appealing thing about photographing The Palouse is this combination of classic features of farmland, spread across this canvas of ‘dunes', resulting in truly mesmerising endless lines in both linear, and in curved patterns, with the play of the light across those textures and gradients, creating shadows and variations in the colour spectrums of the greens and yellows or of the browns and the golds. The aerial perspective gives these abstract art forms a boldness that cannot be fully appreciated from the ground. Mitch's favourite lens to use is a 35mm. This is due to its versatility with 100mp resolution, he can crop in with fantastic detail, or leave it at a wide angle. We think you'll agree that these resulting shots are really stunning and showcase this truly individual area of American geography.
Junxian Wang
Junxian Wang
China
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A 22-year-old street photographer originally from China with 1.5 years of hands-on experience capturing everyday life, culture, and emotion through candid imagery. I’ve photographed in diverse urban settings across the world, driven by a love for travel and connecting with people. My work highlights the beauty in ordinary moments and reflects local identities. Currently building a portfolio for exhibition and publication.
Dawoud Bey
Dawoud Bey
United States
1953
Dawoud Bey (born David Edward Smikle; 1953) is an American photographer and educator known for his large-scale art photography and street photography portraits, including American adolescents in relation to their community, and other often marginalized subjects. In 2017, Bey was named a fellow and the recipient of a MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation and is regarded as one of the "most innovative and influential photographers of his generation". Bey is a professor and Distinguished Artist at Columbia College Chicago.] According to The New York Times, "in the seemingly simple gesture of photographing Black subjects in everyday life, [Bey, an African-American,] helped to introduce Blackness in the context of fine art long before it was trendy, or even accepted" Born David Edward Smikle in New York City's Jamaica, Queens neighborhood, he changed his name to Dawoud Bey in the early 1970s. Bey graduated from Benjamin N. Cardozo High School. He studied at the School of Visual Arts in New York from 1977 to 1978, and spent the next two years as part of the CETA-funded Cultural Council Foundation Artists Project. In 1990, he graduated with a BFA in Photography from Empire State College, and received his MFA from Yale University School of Art in 1993. Bey didn't receive his first camera until he was 15, and has stated until that point he wanted to become a musician. Early musical inspirations included John Coltrane and early photography inspirations were James Van Der Zee and Roy Decarava. In his youth, Bey joined the Black Panthers Party and sold their newspaper on street corners. He does not consider his work to be traditional documentary. He'll pose subjects, remind them of gestures and sometimes give them accessories. Over the course of his career, Bey has participated in more than 20 artist residencies, which have allowed him to work directly with the adolescent subjects of his most recent work. A product of the 1960s, Bey said both he and his work are products of the attitude, "if you're not part of the solution, you're part of the problem." This philosophy significantly influenced his artistic practice and resulted in a way of working that is both community-focused and collaborative in nature. Bey's earliest photographs, in the style of street photography, evolved into a seminal five-year project documenting the everyday life and people of Harlem in Harlem USA (1975-1979) that was exhibited at the Studio Museum in Harlem in 1979. In 2012, the Art Institute of Chicago mounted the first complete showing of the "Harlem, USA" photographs since that original exhibition, adding several never before printed photographs to the original group of twenty-five vintage prints. The complete group of photographs were acquired at that time by the AIC. During the 1980s, Bey collaborated with the artist David Hammons, documenting the latter's performance pieces - Bliz-aard Ball Sale and Pissed Off. Over time Bey proves that he develops a bond with his subjects with being more political. The article "Exhibits Challenge Us Not to Look Away Photographers Focus on Pain, Reality in the City" by Carolyn Cohen from the Boston Globe, identifies Bey's work as having a "definite political edge" to it according to Roy DeCarava. He writes more about the aesthetics of Beys work and how it is associated with documentary photography and how his work shows empathy for his subjects. This article also mentions Bey exhibiting his work at the Walker Art Center, where Kelly Jones identifies the strength of his work and his relationship with his subjects once again. Of his work with teenagers Bey has said, "My interest in young people has to do with the fact that they are the arbiters of style in the community; their appearance speaks most strongly of how a community of people defines themselves at a particular historical moment." During a residency at the Addison Gallery of American Art in 1992, Bey began photographing students from a variety of high schools both public and private, in an effort to "reach across lines of presumed differences" among the students and communities. This new direction in his work guided Bey for the next fifteen years, including two additional residencies at the Addison, an ample number of similar projects across the country, and culminated in a major 2007 exhibition and publication of portraits of teenagers organized by Aperture and entitled Class Pictures.] Alongside each of the photographs in Class Pictures, is a personal statement written by each subject. "[Bey] manages to capture all the complicated feelings of being young — the angst, the weight of enormous expectations, the hope for the future - with a single look." Bey's "The Birmingham Project" was inspired, in part, by a 1960s Civil Rights era photograph by Frank Dandridge of 16th Street Baptist Church bombing victim, Sarah Jean Collins. The Project includes a series of diptychs of an older person, alive when the bombing occurred, paired with a child the age of the victims, portraying "an almost unbearable sense of absence and loss." In 2018, his project Night Coming Tenderly, Black, consists of a series of photographs evoking the imagined experience of escaped slaves moving northward along the Underground Railroad. This work involves not portraits but landscapes, portrayed at night through the means a little used silver-gelatin process. The work seeks to evoke both terror and hope in a "land of fugitives". Bey has lived in Chicago, Illinois since 1998. He is a professor of art and Distinguished College Artist at Columbia College Chicago. Source: Wikipedia
Vincent Laforet
Vincent Laforet
France / United States
1975
Vincent Laforet is a French-American director and photographer. He shared the 2002 Pulitzer Prize for Feature Photography with four other photographers (Stephen Crowley, Chang Lee, James Hill, Ruth Fremson) as a member of The New York Times staff's coverage of the post 9/11 events overseas that captured "the pain and the perseverance of people enduring protracted conflict in Afghanistan and Pakistan." In 2006, Laforet became The Times' s first national contract photographer. He has been sent on assignment by Vanity Fair, The New York Times Magazine, National Geographic, Sports Illustrated, Time, Newsweek, and Life. He is represented by the Stockland Martel agency. In 2002, PDN named Vincent Laforet as one of the "30 photographers under 30 to watch″. In 2005, American Photo Magazine recognized Laforet as one of the "100 Most Influential People in Photography." He and four other photographers were awarded the Pulitzer Prize in Feature Photography for their post-9/11 coverage overseas in 2002. His work has been recognized in the Communication Arts Annual, PDN Annual, The SPD Magazine Cover of the Year (Society of Publication Designers), The World Press Photo Awards, The Pictures of the Year Competition, The Overseas Press Club, The National Headliners Awards, The Pro-Football Hall of Fame. Vincent is a Canon Explorer of Light and Canon Printmaster and serves as consultant to companies such as Apple, Adobe, Carl Zeiss, Leica, Canon, Bogen, Lexar, and X-Rite. He and his work have been profiled on CNN and Good Morning America. In 2008, Laforet directed Reverie, the first widely available short film shot with the Canon 5D Mark II camera. The video has been cited by proposers of the use of DSLR cameras in digital cinematography. In 2010, he launched a nationwide film competition Beyond The Still and he directed the final chapter the film which was screened at the Sundance Film Festival. He is a DGA Director (Directors Guild of America) and of the ICG (International Cinematographers' Guild – Local 600.) He has directed a number of short films and numerous commercials. In 2011, he was chosen by Canon to be one of the first 4 filmmakers to shoot with their first cinema camera, the Canon C300, and he directed the film Mobius which premiered at Paramount Studios. The opening was attended by Martin Scorsese, Ron Howard, Robert Rodriguez, and JJ Abrams. The same year, his first book Visual Stories was released by Peachpit and describes his thought process and approach to a variety of assignments throughout his photography career. He has been awarded 3 of the prestigious Cannes Lions (Platinum, Gold, Silver) for his commercial directing work. Vincent Laforet attended the Dalton School and received his B.S. from the Medill School of Journalism at Northwestern University in 1997. He is fluent in French and English, and speaks Russian and Spanish. He lives in Manhattan Beach, California. Laforet was an adjunct professor at the Columbia Journalism's Graduate School of Journalism, the International Center of Photography and the Poynter Institute. He was inducted in Northwestern's Alumni Hall of Fame in 2010. In the fall of 2020 Laforet joined Apple Inc, with a focus on photography, video and future technologies.Source: Wikipedia
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