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Dominik Schulze
Dominik Schulze
Dominik Schulze

Dominik Schulze

Country: Germany
Birth: 1993

Dominik Schulze is a 29 year old enthusiastic amateur photographer from Dresden, Germany. He has been shooting street photography for about seven years, but prefers to call it capturing unposed moments in our daily urban environment.

Besides strong light/shadow situations, the integration of people into architecture, he also likes to experiment with abstract perspectives on everyday things. To get new impressions of street life, he likes to travel and combine this with his photography.

Photographers such as Thomas Leuthard, Alex Webb, Siegfried Hansen and Josef Koudelka have particularly influenced his style. Currently, a Pixel 4a is his main camera.
 

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Golnaz Abdoli
Iran/United States
1956
I was born in Iran and lived the first 18 years of my life there. The vivid memories of my homeland are its cold winters with snowcapped mountains, cars swerving on slippery roads, a small frozen pool, and me hoping that school would be cancelled; my mom preparing pomegranate for my siblings and I, and at the same time warming my hands with her warm breath. During the next forty years I enjoyed getting my degrees in Biology and Education in California, USA, raising my two children , and working in the field of education. I taught elementary school for 21 years. I picked up photography after I retired from teaching. I loved it immediately because it gave me a new voice to express myself and be creative. I found that photography and its many genres is a unique language with many dialects, and it can bring people from all over the world together. But now my love of photography has developed into a passion during the Covid-19 Pandemic. I appreciate it for helping me delve deep into my soul and understand myself better. During the lockdown photography has become my best friend and companion. Statement I approach photography of modern architecture as a visual puzzle that needs to be unravelled. My images are theatrical and mysterious. When I hold the camera, it awakens a sense of curiosity in me. I look up, ponder at the lines of steel coming together, light and shadow intertwining to form reflections, and I question how far into the space the lines travel, and the patterns repeat themselves. Reflections of outside buildings form mysterious forms and rhythms on the structural facade of modern architecture, inviting it to form a community with its surrounding. I appreciate the modern architecture for its beauty.
Dennis Stock
United States
1928 | † 2010
Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.(Source: en.wikipedia.org) Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.(Source: Magnum Photos)
Laurent De Gebhardt
My childhood and adolescence were nourished by painting galleries and museums. Portrait and nude were my preference. After my studies, I crossed the Sahara and moved to the African bush for 2 years as a teacher then moved to Reunion Island where I began to make photo reports for NGOs. For a few years now, I have developed personal projects in artistic residency, mainly oriented towards the intimate and the portrait. My inner universe is imbued with a quest for an "original state" prior to any injury. The face is very often a revealing which does not deceive of this interior state and this quest specific to each one. Fascinated by the energy given off by the expression of a face, my work tries to draw closer with portraits to the reading of these inner states, perhaps to find my own way. Taxidermus Taxidermus is a series produced with the staff of the St-Denis Natural History Museum (Reunion Island). I wanted to play with the same characteristic codes of the first photos of the 19th century. The characters created posed with studied seriousness, in classic postures based on carefully chosen elements: armchair, desk, mirror, easel... Adventure and travel stories nourished my imagination from childhood and I found behind the scenes of the museum an atmosphere suitable for reviving these stories. I installed lights to recreate these chiaroscuro from the Flemish school and with the assistance of a team I dressed and styled these characters using authentic period costumes. I also found period objects in local associations and my hairdressing assistant studied period hairstyles to reproduce them as closely as possible
Martin Stranka
Martin Stranka was born on Friday April 13, 1984 in Most, Czech Republic, where he lived with his parents and older sister until the age of three. For the next twenty years, family then moves to Litoměřice, where he attends elementary school and the Josef Jungmann Gymnasium. He went on to study economics in Prague, where he has lived and worked ever since. He never studied art, but after the loss of a close friend in 2007 he turned to photography as therapy to regain his balance in life. After completing his university studies, he worked as a human resources manager while continuing in his pursuit of photography which later became his passion. In December 2010 his passion became his profession when he accepted commissions from New York publishing houses Sterling Publishing and HarperCollins. In his seventeen-year career, Stranka won more than 90 international awards, and honorary mentions in photography, of which the most significant include Special Photographer of the Year from the International photography Awards in New York in 2022, and 1st place in the Sony World Photography Awards that he won in 2018 and 2019 in London. His works were exhibited and auctioned at Christie’s in London in early 2023. Martin Stranka exhibited his work in New York, Miami, London, Paris, Prague, and Shanghai, in galleries including Christie’s London, Saatchi Gallery, SNAP! Orlando, Somerset House in London, or the exhibition hall of Prague’s Mánes. His works already attract the attention of art collectors and can be seen on the covers of books published by HarperCollins, Sterling Publishing, and Penguin Random House. Martin has also created several photographic visuals for the National Theater, the National Theater Ballet, and the National Theater Opera. He has published four monographic books the last of which was published the retrospective book for the exhibition at the Danubiana Meulensteen Art Museum. Statement Martin wrote about his work: ''I’m always searching for beauty, but to me, the sort of beauty that is obvious seems uninteresting and empty. To the contrary, a flaw in something that is seemingly perfect adds vital meaning to the captured scene and catches my often-distracted attention. At least a small wobble of emotion to contrast the calmness of mind in a piece of art makes sense to me. As an artist, I need to strip both myself and the viewer of certainty in order to create space for the necessary multitude of questions. I look for form and content that harmonizes with people and provides them with a quiet visual refuge. At first glance, the images I capture are calm, yet under the surface, they rage and roar. I plant a sense of dismay into the same artwork, be it only with the slightest hint of something sinister lurking beneath the surface. And it never ceases to amaze me that such seemingly incompatible contrasts can be combined into one image. I constantly return to the narrative of the relationship between mankind and nature, as well as the exploration of human existence itself. Loneliness and isolation – such relevant topics today – seem to me like an endless line of poetry that I stitch through every photograph, even if only marginally. I can’t let go of the feeling that it is in isolation that I find a much-needed dialogue. A dialogue with myself, within myself, into myself. The visible silence in a photograph is contrasted by hectic thoughts that I’m unable to resist. And after all, I don’t want to defy them, I just need to accept everything as an observer. Observation and voyeurism become the best ways to learn. I repeatedly try to discover the connection between visual beauty and dramatic reality. What connects the state of oversaturation of human relationships and the state of one’s own loneliness? I need to know the answer. In my work, I continue to experiment with the portrayal of personally experienced intimacy contrasted against the more ephemeral feelings of closeness between strangers. I try to give meaning to situations and objects beyond how they are perceived. I’m driven to tear down traditional contexts, to give states and objects different meanings, and thus place ordinary experiences in extraordinary contexts. Although this process may seem complicated, to me it comes completely spontaneously every step of the way. The medium of photography allows me to materialize all these external happenings and flickering events onto paper.''
Marco Panzetti
Marco Panzetti (Italy, 1981) is a freelance documentary photographer, multimedia journalist and visual artist. His work focuses on contemporary issues related to social injustice, migration and collective identity. He successfully carried out projects in Europe, Latin America and Asia, frequently in collaboration or on assignment for nonprofit organizations and media outlets. His long-term body of work on the European migrant crisis, 'The Idea of Europe' (2015 – present) received international recognition including an Honorable Mention at the 2017 Lange-Taylor Prize and the first prize in the video category at the 2017 Migration Media Award. 'The Idea of Europe' is a long-term documentary work on the human impact of the European refugee crisis. Fleeing from conflicts, humanitarian crisis and economical distress in their countries of origin, and escaping the slavery practices commonly reported in Libya, since early 2015 more than 10,000 people lost their lives in the Mediterranean trying to reach Europe, and about 3 million people applied for asylum in EU countries. This huge influx highlighted the limits and unfairness of border control policies and asylum systems still anchored to the post-WWII treaties, and caused a major discussion among the public opinion. Can Europe still indulge in considering itself the cradle of human rights? With this question as motivation and common thread, 'The Idea of Europe' follows the migrants' journey from the desperate Mediterranean crossing to the asylum request in Italy. This project encompasses work from 'In Between', a project done in 2016-2017 from a rescue vessel in the Mediterranean to report on the humanitarian tragedy unfolding in international waters, 'We are not going back', a project work done in 2015-2016 from the disembarking port of Lampedusa and at the Italian border town of Ventimiglia where I documented the migrants' encounter with the resurging (physical, ideological and bureaucratic) walls of Europe, and 'Life after Hell', a project done in 2017 from various reception centres across Italy where I portrayed the daily lives of those waiting for a decision on their asylum request, which could take up to two years.
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