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Rajan Dosaj
Rajan Dosaj
Rajan Dosaj

Rajan Dosaj

Country: United States
Birth: 1958

Born and raised in the United States, I spent nearly 20 years in the theater world, first as a dancer and singer in Broadway musicals and later as an actor and director. Upon my retirement from theater, I settled into the business world but it wouldn't be long before I was in need of a creative outlet and the Sebastiao Salgado documentary, The Salt of the Earth, rekindled my brief high school interest in photography. Soon, the books of Alec Soth, Nancy Rexroth, Sally Mann, Joshua Jackson, and many more were on my selves and with a newly purchased camera in hand, I started out on my latest adventure.

Naturally, I started with dance portraits and found it incredibly exciting and fulfilling but soon I ventured into other genres to improve my work. Whether it was wildlife, street, architecture, portrait, or fine art photography, I was either taking a class or teaching myself about the genre in order to become a better photographer.

In my short time behind the camera, I have been fortunate enough to have some of my images appear in galleries across the country, including Photo Place Gallery, A Smith Gallery, Praxis Gallery, Black Box Gallery, SE Center for Photography, and the Decode Gallery.

With my background in theater, I know that photography can be a frustrating art form where most of the time I end up kicking myself for the mistakes that I continuously make over and over. But every once in a while, those rare moments come along when my eyes through a camera are able to see and capture an extraordinary moment.
 

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Germaine Krull
Germany
1897 | † 1985
Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
Monica Denevan
United States
1964
Monica Denevan studied photography at San Francisco State University. Her ongoing series, "Songs of the River: Portraits from Burma," began in 2000. Since then, she has returned to many of the same small villages in Burma/Myanmar, making intimate photographs of fishermen and their families in the spare and graphic setting of the Irrawaddy River. She travels with a medium format film camera, one lens, and bags of film, working with natural light and making composed images. Once home, she makes photographic prints in her traditional darkroom. Denevan's photographs have been exhibited internationally including solo shows at Scott Nichols Gallery (Sonoma, CA), Duncan Miller Gallery (Santa Monica, CA), Tao Gallery (Hong Kong) and Serindia Gallery Annex (Bangkok.) In 2020, she was one of 25 artists included in Photo-Eye Gallery's (Santa Fe, NM) first-ever juried exhibition. Her work is currently displayed on The Strand Cruise ship in Burma/Myanmar. She was a Photolucida Critical Mass Top 50 finalist in 2019 and 2012. In 2016, ten of Denevan's images were published in a book of Lao photographs published by Nazraeli Press and Friends Without A Border in NY. In addition, her photographs have been published in ZYZZYVA, LensWork, SHOTS, and Bangkok Airways Inflight Magazine among others. She is the All About Photo 2020 Photographer of the Year award recipient. Monica Denevan is represented by Scott Nichols Gallery. She lives and works in San Francisco. Statement In my ongoing series "Songs of the River: Portraits from Burma," I make portraits of fishermen and their families by the Irrawaddy River. Burma (Myanmar) has a long troubled history, which continues into the present and now receives much more international notice and condemnation since my first trip in 2000. However, little has changed in the quiet villages I often visit. Generations of families live together in thatched roofed huts built on stilts. Women wash clothes in the river. Girls collect river water in large plastic containers that they balance on their heads. Men and boys are often out all night fishing. In the evening, children play, sing, bathe, and joke around at the river's edge. The sounds echo over the water. When in the villages, I am most interested in making portraits of the people I spend my time with, some of whom I have photographed since I first visited the country. I am grateful to be allowed briefly into their lives. The nearby area is stark, minimal, and ever changing, and I use that environment in my photographs. The landscape becomes another subject, another portrait within the picture. As families grow, I incorporate new people into my images, combining the spare, external world with the physicality of the individual. To return to the same place annually and find a new way to see it or to look for what is different is a daily adventure that I enjoy.
Laura Berson
France
1987
Laura Gwenaëlle Berson was born in Paris in 1987. She studies Applied Arts, then comedy,script-wrinting and cinema. It is a few years later that she is moving towards a more intuitive photographic, plastic and writing work, enabling her to express everything she doesn't know just as much as the others, with the aim of finding the essence of something. Her conceptualized artistic practice allows her to play on forms, bodies whatever they are, by diving into the heart of the infinitely large and the infinitely small, to try to connect the sensitive but not palpable part that binds the two . Her work oscillates between everything and nothing, here and there, where she moves, like an atom (or electron it depends) free, among others. It is through her raw and spontaneous hypersensitivity that she directs her work towards an intimate questioning, playing on the different strata of reality that accompany it to identify a multi-variable essence. She exhibited solo in 2015 at the Maison de la Mixité in Paris and was present at Fotofever Emerging Talent in November 2016. She got an honorable mention for the Chromatics Photography awards in the landscape section. In 2018, she appeared publicly in a Science Shakers - Mixology session - around the imaging of science, organized by the Institute of Complex Systems in partnership with the CNRS, and won the Moscow Foto awards silver price for her serie Some Seeds. In her series The Intolerante, she tries to highlight the effect of food intolerance on the body, its destructuring of the body see its modification, via its own body damaged and tired by daily pain. Through the Myth of the Endometrium, she traces the course of the disease of endometriosis from which it is reached, passing painful menstruation and infertility to the possibilities of operations in order to be able to transmit life. In her series Silentium, she tries to transcribe relationships to others, difficult, tempestuous, whose links fade or weave over time, in a carnal and organic way.
Carole Glauber
Israel
1951
Carole Glauber is an internationally exhibiting, award-winning photographer and photo-historian, based in Israel since 2017. She has a B.S.Ed and a M.Ed. and is the author of two books: "Personal History" (Daylight Books) and "Witch of Kodakery: The Photography of Myra Albert Wiggins 1869-1956" (Washington State University Press). Her photographs have been exhibited in the United States and Europe including PH21 Gallery in Budapest, ValidFoto in Barcelona, Festival Pil'Ours in France, and The Center for Fine Art Photography, Blue Sky Gallery, ASmith Gallery, Soho Photo Gallery, the Griffin Museum of Photography, and the Dr. Bernard Heller Museum amongst others in the United States. Her book "Personal History" received a silver medal from the PX3 Prix de la Photographie Paris and three gold and bronze medals from the Budapest, Tokyo, and Moscow International Foto Awards. Her photography honors include PX3 Prix de la Photographie, Paris, the International Photography Awards, the Tokyo International Foto Awards, the Julia Margaret Cameron Awards, the Pollux Awards, the Mobile Photography Awards, PHmuseum, and the International Krappy Kamera Competition. She is the recipient of a Peter E. Palmquist Photographic History Research Fellowship, a Winterthur Museum Fellowship, an Oregon Humanities Research Fellowship, and numerous grants for her photographic research. She continues her studies and teaching of History of Photography and making photographs of her experiences and observations based on her curiosity and sense of spontaneity. Statement My book, "Personal History" explores the lives of my sons, Ben and Sam—a span covering 30 years. I used a 1950's Kodak Brownie Hawkeye camera for this work which I tried by chance, and discovered I related to the soft colors, the imperfections, and the transcendent quality of the image. During childhood and adolescence, we first experience the world. Spells are woven, our thoughts wander, curiosity grows, and our memories are sown. Friendships, dream chasing, and absorbing knowledge under the glare of the day can all happen. It is the time to discover by divergent thinking; to create, love, and energize without practical concerns of the day. Travel and seeing the world are fresh. They are like waves lapping on the beach. I invited Ben and Sam to write essays about being photographed by their mother for so many years. In effect, they have the final word. For me, the opportunity to photograph my children is like a calm breeze and now I can run with the memories recorded in the soft imagery of time.
Maurizio Di Pietro
Maurizio Di Pietro is an Italian freelance documentary photographer, primarily focused on social and environmental issues. He graduated in 2001 with a degree in Computer Science and often incorporates his passion for science and technology into his work, along with a sense of intimacy and delicacy. After working for many years as a stage photographer, he became involved with several non-governmental organizations in Morocco, Sri Lanka, Guatemala, and the West Bank, where he discovered and developed a passion for documentary photography and soon began a career as a freelance photographer. Today he also works as a reportage photography teacher at the Factory10 photography school. His images have been published in national and international magazines such as National Geographic, Geo France, Der Spiegel, BBC, L’Espresso, and many others. His work has been awarded in prestigious international competitions, including the Sony World Photography Awards, Pictures of the Year, and Lucie. In 2023, he was honored as Environmental Photographer of the Year. Turkana’s Resilience: Turkana, in northwest Kenya, is the poorest and least developed county in the ASALs (Arid and Semi-Arid Lands). More than 60% of the inhabitants of the Turkana district are pastoralists, so their survival depends entirely on livestock, natural resources for food and daily activities. In the last few decades, the region has experienced a growing population, the air temperature increased by about 3 degrees, while more frequent and prolonged droughts have reduced the natural resource base. Rainfed agriculture is not possible. Pasture resources for livestock have dramatically reduced, encouraging those closest to Lake Turkana to turn to fishing as an alternative livelihood. Communication, roads, social services, and political support are almost non-existent, leaving those living around Lake Turkana physically isolated and politically marginalized. Chronic dependence on food aid is high. The area is the fuse of violent conflict, indeed proliferation of illegal arms from southern Sudan has contributed to the escalation of insecurity along the area’s shared borders with Ethiopia, Sudan, and Uganda and other counties in Kenya as Pokot and Marsabit. Warfare is traditionally an essential part of Turkana life and the principal occupation of young men. Weapons are considered a man’s proud possessions and the practical tool for increasing herds by raiding and for expanding their territory. Fear of conflict and prolonged drought have pushed many to move to urban centers, up to Nairobi, looking for a new life. Furthermore, significant oil reserves have been discovered recently in Turkana County. The dimensions are immense. The main basin in Turkana alone contains more than 600 million barrels of oil according to the UK-based operating company Tullow Oil. For the government of Kenya, the discovery of oil is very good news instead for the pastoral communities the effects of oil exploration are likely to be more ambivalent.
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