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Mona Singh
Mona Singh
Mona Singh

Mona Singh

Country: India

Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision.

She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world.

Silent Colors:
"Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan.

She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."

Websites

@monasinghphotography

monasinghphotography.com

 

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More Great Photographers To Discover

Rosa Basurto
Rosa Basurto
Spain
1972
Rosa Basurto is a self-taught photographer from Spain who, within a short frame of time, has been widely recognised for her work. Despite no formal training, Basurto demonstrates an impressive command of photographic skill, producing images that are poetic in style and imitating a dream-like world, within the reality of landscape. Though each image includes quite life-like subjects, such as trees and birds in flight, the spaces they occupy within Basurto’s photographs bring about a very intimate and almost mysterious atmosphere. By capturing a suspension of time, Basurto’s particular style allows the viewer to notice what would have normally been taken for granted. It is exactly this element that gives each picture its dramatic dimension. It emerges when we view a space that seems tranquil, bringing in to question what habitation would have normally occupied such land. Furthermore, the sense of frame, the cleanliness, and the geometric lines give the image an undeniable modernity. Basurto’s work has been exhibited in various group shows as well as having been displayed in solo exhibitions around Spain, Portugal and France. Her work has been widely recognised and received various awards. Some of these include; the Jury Prize for the “Historia de invierno”, PhotoEspaña, 2010, First Prize for the Bienal Internacional SICAFI, Argentina in 2008, the IV Concurso de Fotografía de Naturaleza Vila-Real prize in the category of Flowers, Castellón in 2007. She has also won First Place for the EPSON Digital Photography Contest in 2006. In 2008, Basurto’s work was shortlisted for various awards including Descubrimientos, PhotoEspaña in 2008, Trierenberg Super Circuit, Austria in 2008, the X Biennal Internacional AQÜEDUCTE, 'European Wildlife Photographerof the Year' in the category 'landscapes' in 2007, as well as the “XXXV Trofeo Guipúzcoa Internacional” prize in 2007. Source www.milimgallery.com
Brigitte Carnochan
Brigitte Carnochan
United States
1941
Brigitte Carnochan's photographs are represented nationally and collected globally by museums, corporate and private collectors. She has had solo exhibitions in Latvia, Italy, Chile, and Hong Kong as well as in New York, Houston, Boston, Palo Alto, Los Angeles, Santa Fe, Ketchum, Woodstock, Albuquerque, Carmel and San Francisco. In addition to the publication of three monographs (Bella Figura 2006, Shining Path 2006, Floating World 2012), The German publisher, Edition Galerie Vevais, launched a monograph of her images in 2014 at Paris Photo. For many years she taught workshops and classes through the Extension Program at UC Santa Cruz and Stanford's Continuing Studies Program. She is on the Advisory Councils of Center, in Santa Fe and The Center for Photographic Art in Carmel. Statement: Despite the debates over "honesty" and "truth" in photography, it is an intrinsically subjective art and form of communication. The photographer has chosen, from a huge range of images, certain ones - or pieces - from a certain perspective, with the light at a certain angle and at a unique moment in time. And the "story" in the photograph begins with the photographer's decision of when to click the shutter and isn't completed until each viewer interprets that image in his or her own way. The qualities that have fascinated me and led me to make a particular photograph are usually quite intuitive. I generally don't have a completed concept in my mind when I begin--I move things around, change angles, lighting--until everything seems right. To further complicate issues of "truth," I often add color to a black and white image in order to bring out, most convincingly, the impression it has made on me--and I have no concern about whether the colors are the "real" colors. In documentary photography the same subjective issues apply--but realizing and recording the "right" moment requires quicker reflexes and a different kind of intuition. Sensing a moment coming by keenly observing the scene--and always being ready for that moment--is the excitement in that kind of photography. All of my images begin as straight gelatin silver prints, but in my nudes and floral still lifes, I am often drawn to hand coloring on several counts. First in literature and now in photography, I have been interested in the power of the imagination--how it colors everyday life - creates, in fact, private views of experience, whether revealed in words or in images. Even though most people see the world in color, they do not see everything in the same exact colors. From an optical point of view, the colors we see depend on where we stand in relation to the object, where the sun is on the horizon, what color the walls are, or the tint of our glasses (or contact lenses), and so on. From a psychological point of view--everything depends on whether we are worried, elated, anxious, in love, lonely, distracted, or fully alert. For this reason, I often hand color my work, because the process allows me to interpret the essence of my subject according to my own imagination. Whether it is nudes and flowers or the black and white images in my series from Cuba, Africa, or Mexico, imagination colors--literally and figuratively--not only what I see initially, but what the viewer sees, ultimately. And seeing, of course, is everything in photography: seeing--and light and shadow. Beginning in 2007, I am continuing to paint gelatin silver images, but I am also scanning the first copy in each new painted edition (now limited to 25) and creating small limited editions of archival pigment prints* in three sizes. The level of current technology makes me confident that these digitally printed images will not only render the original painted photograph faithfully, but will, like the original, last over time. Discover Brigitte Carnochan's Interview
Lisa Elmaleh
Lisa Elmaleh
United States
1984
Lisa Elmaleh is a landscape photographer who uses an 8 x 10" camera and the collodion on glass process. This process from the mid 1800's requires an on-site darkroom, which is built into the back of her truck. She attended the School of Visual Arts in New York, and became inspired by the historical landscape photographers of the American West such as Carleton Watkins and William Henry Jackson. By documenting the Everglades in Florida, an ecosystem that has lost most of the land to urban and agricultural use, Elmaleh hopes to preserve an essence of the Everglades. The freshwater flowing into the national park is engineered, making it an ecosystem on life support, "alive but diminished". The following images come from the series Everglades, Lonesome Valley, and American Folk.
Sergio Larrain
Sergio Larrain
Chile
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Sergio Larrain was born in 1931 in Santiago de Chile. He studied music before taking up photography in 1949, from which year until 1953 he studied forestry at the University of California at Berkeley. He then attended the University of Michigan at Ann Arbor before setting off to travel throughout Europe and the Middle East. Thus began Larrain's work as a freelance photographer. He became a staff photographer for the Brazilian magazine O Cruzeiro and in 1956, the Museum of Modern Art in New York bought two of his pictures. In 1958, Larrain was given a grant from the British Council that allowed him to produce a series of photographs of London. The same year Henri Cartier-Bresson saw his photographs of street children and suggested that he work for Magnum. Larrain spent two years in Paris, where he worked for international press titles. Larrain became a Magnum associate in 1959 and a full member in 1961. He returned to Chile in 1961 when the poet Pablo Neruda invited him to photograph his house. In 1968, he came into contact with Bolivian guru Óscar Ichazo and virtually gave up photography to pursue his study of Eastern culture and mysticism, adopting a lifestyle in keeping with his ideals. He has devoted himself to spreading knowledge of yoga, writing, painting in oils and occasionally taking the odd photograph.
Matthew Brandt
Matthew Brandt
United States
1982
Matthew Brandt (born 1958 in Los Angeles) is a American photographer and visual artist. Calling his approach "a little bit messy and experimental," Brandt produces large-scale photographs through labor-intensive processes recalling the 19th-century origins of photography, often incorporating the physical matter of the subject itself. Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities. The reciprocal relationships that Matthew Brandt creates between his subjects and the materials used to represent them are always conceptually grounded, often in response to social and environmental issues. He is deeply inquisitive, even fearless, in his exploration of subjects, materials, and processes, reinvigorating the medium of photography with a sense of wonder.Source: The Lapis Press Matthew Brandt received his BFA from Cooper Union and MFA from UCLA. Brandt has been the subject of institutional solo shows at the Newark Museum, the Columbus Museum of Art, Virginia Museum of Contemporary Art and SCAD Museum of Art, Savannah. Recent group exhibitions include works in New Territory: Landscape Photography Today at the Denver Art Museum, The Magic Medium at the Los Angeles County Museum of Art; Light, Paper, Process: Reinventing Photography at the J. Paul Getty Museum, Los Angeles; Second Chances at the Aspen Art Museum; What is a Photograph? at the International Center of Photography, New York; and Land Marks at the Metropolitan Museum of Art, New York. Brandt was shortlisted for the prestigious Prix Pictet Award in 2015 and had his work showcased in an exhibition at the Musée d’Art Moderne de la Ville de Paris. His work can be found in the permanent collections of the Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Guggenheim Collection, NY; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; Denver Art Museum, Colorado; High Museum, Georgia; Detroit Institute of Arts, Michigan; and the Columbus Museum of Art, among others. In 2014 a monograph devoted to Brandt’s work was published by Damiani. Matthew Brandt lives and works in Los Angeles.Source: matthewbrandt.com Matthew Brandt's photography conflates subject and material, incorporating physical elements from the sources he’s depicting to create unique compositions that are technically inventive and conceptually sly. For Lakes and Reservoirs, his landscapes were bathed in the water of their subjects; 2014’s Dust featured reproductions of historical photographs of demolished structures, rendered in pigments borne of debris collected from those buildings’ contemporary sites. For 1864, his first exhibition at Jackson Fine Art, Matthew Brandt again turns to the archives, reinterpreting George N. Barnard’s photographs of a post-Sherman Atlanta by making images of a shattered city into peach pie.Source: Jackson Fine Art
Takuma Nakahira
Takuma Nakahira
Japan
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Takuma Nakahira was a Japanese photographer, critic, and theorist. He was a member of the seminal photography collective Provoke, played a central role in developing the theorization of landscape discourse, and was one of the most prominent voices in 1970s Japanese photography. Born in Tokyo, Nakahira attended the Tokyo University of Foreign Studies, from which he graduated in 1963 with a degree in Spanish. After graduation, he began working as an editor at the art magazine Contemporary View (Gendai no me), during which time he published his work under the pseudonym of Akira Yuzuki. Two years later, he left the magazine in order to help organize the major 1968 exhibition One Hundred Years of Photography: The History of Japanese Photographic Expression at the invitation of Shōmei Tōmatsu, an effort to which photo critic Kōji Taki also contributed. In 1968, he and Taki teamed up with photographer Yutaka Takanashi, and critic Takahiko Okada, to found the magazine Provoke: Provocative documents for the sake of thought. By the second issue, Daidō Moriyama had joined the group, but Provoke ceased publication with its third issue, First discard the world of pseudo certainty: the thinking behind photography and language, in March 1970. Nakahira and the other Provoke members were well known for what was termed their "are, bure, boke" (rough, blurry, and out of focus) style, associated with spontaneity and thus supposedly a more direct confrontation with reality in that it would circumvent conscious control. While working on Provoke, Nakahira published his first photobook, For a Language to Come, which has been described as "a masterpiece of reductionism." Ryūichi Kaneko and Ivan Vartanian feature the book prominently in their book on seminal Japanese photobooks of the 1960s and 70s, and Martin Parr and Gerry Badger include it in the first volume of their international photobook history. Vartanian describes the volume as exemplary of Provoke's vision and concept of photography in Nakahira's use of the are, bure, boke style, but also for presenting full-bleed snapshots of anonymous corners of Tokyo that either cross over or abut each other at the book's gutter. Vartanian argues that "By erasing the conventional functionality of the photograph as document, memory, verification, emotion, and narrative, he revealed the illusory nature of photography as a conduit of information or portrayal of reality, while at the same time underscoring the only tangible reality available to the viewer—the printed image," eschewing documentation of social issues to instead present a personal, diaristic perspective. In 1977, at the age of 39, Nakahira suffered alcohol poisoning and fell into a coma. As a result of this trauma, he suffered permanent memory loss and aphasia, effectively ending his prolific writings. This event has also conventionally been understood as marking a change in his photographic practice since, after a hiatus from his image-making activities, he returned to the medium in a style quite distinct from that for which he was known. Curator and photo critic Kuraishi Shino and Masuda, however, argue that in spite of any stylistic differences with his earlier work, Nakahira's post-1977 practice should be understood as a conceptual continuation of the project he embarked on in 1973 with Why an Illustrated Botanical Dictionary. Nakahira's post-1977 photographs were collected in three photobooks: A New Gaze (1983), Adieu à X (1989), and Hysteric Six Nakahira Takuma (2002). While Nakahira was always an important figure within Japanese photographic circles, the upsurge in research and exhibitions on post-WWII Japanese photography since the 2000s has led to a reevaluation of Nakahira's contributions to Japanese photographic, media, and art discourses in recent years, especially outside of Japan. His work has been included in recent seminal exhibitions of Japanese post-WWII art including the Getty Research Institute's Art, Anti-Art, Non-Art: Experimentation in the Public Sphere in Postwar Japan, 1950-1970 (2007), the Museum of Modern Art's Tokyo: 1955-1970 (2012), the Museum of Fine Arts Houston's For a New World to Come: Experiments in Japanese Art and Photography 1968–1979 (2015), National Museum of Modern Art, Tokyo's Things: Rethinking Japanese Photography and Art in the 1970s (2015), and the Art Institute of Chicago's Provoke: Photography in Japan between Protest and Performance, 1960-1975 (2017).Source: Wikipedia
Alexey Titarenko
Alexey Titarenko
Russia/United States
1962
Alexey Titarenko is a Russian-born photographer and visual artist best known for his black-and-white photos that investigate the link between time, location, and memory. He was born in Leningrad (now Saint Petersburg) in 1962 and grew up in the Soviet Union during a period of rapid political and cultural change. Before pursuing photography as a fine art form, Titarenko studied journalism at Leningrad State University and worked as a writer and photographer for a local newspaper. He was drawn to photography because of its ability to record and preserve moments in time, as well as reveal the nuances of the world around us. In the early 1990s, Alexey Titarenko moved to the United States and continued to develop his unique style of photography. He is best known for his series The City is a Novel, which was created in the early 1990s and was inspired by the architecture, history, and atmosphere of St. Petersburg. In these images, Titarenko employs a slow shutter speed to create a dream-like quality, blurring the movement of people and objects in the city's busy streets and squares. The result is a series of haunting and evocative images that capture the feeling of the city as well as its history and identity. Titarenko's work has been widely exhibited and published, and he has received numerous awards and accolades for his contributions to the field of photography. He has continued to explore themes of time, memory, and identity in his work, and has been particularly interested in the idea of "hauntology" – the study of the way that past experiences and events continue to influence our present and future. One of Titarenko's most significant contributions to the field of photography is his use of the technique of layering. In many of his images, he blends multiple exposures of the same scene, creating a complex and layered image that is both abstract and representational. This layering technique allows Titarenko to express his ideas about the relationship between time and memory, as well as to create images that are visually stunning and emotionally resonant. Titarenko's work has had a profound influence on the field of photography, and he is widely regarded as one of the most innovative and original photographers of his generation. His images are powerful and thought-provoking, and they invite us to contemplate the world around us in new and meaningful ways. Alexey Titarenko is a world-renowned photographer and visual artist whose work continues to inspire and enchant audiences worldwide. He has made an important contribution to the field of photography, and his photos will definitely continue to inspire and thrill future generations.
Luca Bernardini
Luca Bernardini
Italy
1990
I am an amateur photographer born in Pesaro in 1990. I have always loved photography but, not sure why, I never thought of making it my own until about 3 years ago. I work as an engineer in a refrigeration company, here a colleague lent me my first equipment and incited me to try, giving me some tips. After a few days, During Covid's first pandemic lockdown, I bought my personal camera, a handful of books, and began to immerse myself in what is now my greatest passion. The goal is always to improve and to look for the right instant to get trough the lens, but the days spent walking around discovering and shooting are the greatest joy I could ever wish for. I am a very introverted person and thanks to this passion I am managing to get closer to the other people, I also hope, with time, to be able to tell more about myself and my thinking. Winner AAP Magazine #30 Shadows
Craig Varjabedian
Craig Varjabedian
United States
1957
"Craig Varjabedian's photographs of the American West would be the perfect illustrations to a Cormac McCarthy book. They have a surreal beauty and poetic emptiness that border on the fictional. It's as if this isn't the real West, but the West of tall tales and American dreams." Claire O'neill, "The Picture Show," National Public Radio Craig Varjabedian is an award-winning photographer, author, and teacher. His stunning photographs of the people and places of the American West are critically acclaimed, not only for their powerful imagery and artistic composition, but also for their ability to transcend the commonplace-immanently engaging the viewer with scenes that passionately reflect the artist's connection to his subjects. Varjabedian achieves this goal through a skillful visionary acuity and intuition, allowing him to make photographs that expand awareness. As a result, viewers are presented with new ways of seeing and experiencing this region so integral to our collective imagination and our unique American identity. Varjabedian's gift lies in his ability to blend both technical expertise and illustrative narrative-depicting lyrical images that reveal the humanity and character of a vast sometimes barren country known for its legendary beauty and dramatic heritage. Varjabedian's photographs tell contemporary stories that continue to inspire today what has historically been recognized as the "spirit of the Great American West." Craig graduated from the University of Michigan witha Bachelor of Fine Arts degree, and received his Master's degree from the prestigious Rochester Institute of Technology. As a fine art photographer for over forty years, Varjabedian has been widely praised for his masterful images ranging from awe-inspiring, expansive landscapes, to intimate soul-revealing portraits. He is also the director of Eloquent Light Photography Workshops in Santa Fe. In further recognition of his work, Varjabedian has received grants from the National Endowment for the Arts, the Samuel H. Kress Foundation, the McCune Charitable Foundation, and the New Mexico Humanities Council. His photographs have been exhibited in, and his prints collected by, museums around the country, including the William Benton Museum of Art, the Baltimore Museum of Art, the Colorado Springs Fine Arts Center, the Harry Ransom Center at the University of Texas at Austin, and the Albuquerque Museum of Art. In 1991, Craig received an Emmy Award for his collaboration with award-winning filmmaker Karl Kernberger on the PBS documentary En Divina Luz: The Penitente Moradas of New Mexico. Photographs from this project were published in a 1994 book by the same name. Craig's other books include By the Grace of Light: Images of Faith from Catholic New Mexico (1998), Four & Twenty Photographs: Stories from Behind the Lens (2007); Ghost Ranch and the Faraway Nearby (2009), which received the prestigious Wrangler Award for Outstanding Photography Book from the National Cowboy and Western Heritage Museum; and Landscape Dreams, A New Mexico Portrait (2012), released to coincide with the New Mexico State Centennial. Varjabedian's latest book, Into the Great White Sands, a photographic celebration of White Sands National Monument, was published by the University of New Mexico Press in 2018. The book received a prestigious New Mexico/Arizona Book Award. Craig Varjabedian's Interview
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