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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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More Great Photographers To Discover

Yasuhiro Ishimoto
Japan/United States
1921 | † 2012
Yasuhiro Ishimoto was a well-known Japanese-American photographer known for his distinct style and contributions to the field of modernist photography. Ishimoto was born in San Francisco on June 14, 1921, and spent his childhood in Japan before returning to the United States in 1939 to further his education. Ishimoto enrolled at the Chicago Institute of Design in the early 1940s, where he studied under influential photographers such as Harry Callahan and Aaron Siskind. During this time, Ishimoto developed his signature style, which is distinguished by dynamic compositions, bold geometric forms, and a keen sense of light and shadow. In both Japan and the United States, Ishimoto's work frequently focused on architecture. He photographed the interplay of lines, shapes, and textures to investigate the relationship between humans and their built environment. His images of famous architectural landmarks, such as the Katsura Imperial Villa in Kyoto, demonstrated his ability to infuse tranquillity and contemplation into his photographs. Ishimoto documented street scenes and everyday life in both Japan and America, in addition to architectural photography. He had an uncanny ability to capture candid moments and the essence of the people he met, providing a glimpse into the cultural and social fabric of the time. Ishimoto received numerous awards and accolades for his work throughout his career. His photographs have been shown all over the world, and he has written several books, including Katsura: Picturing Modernism in Japanese Architecture and Chicago, Chicago. Ishimoto's work helped to bridge the gap between Eastern and Western photographic traditions. Yasuhiro Ishimoto died on February 6, 2012, but his photographs will live on. His artistic vision and technical mastery continue to inspire photographers all over the world, and he has left a body of work that reflects his commitment to capturing the beauty and essence of the world around us.
Pierre Verger
France
1902 | † 1996
Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Philipp Bolthausen
United States
Akzidenz currently living and working between Paris and New York. His education focused around art and communication studies in Paris and New York, where he lived and worked for many years before returning to Paris. He presently works as an art director for some of the mosthigh-end luxury brands worldwide.This background has a rooted presence in his work - in that he is less interested in the representational qualities of the photograph, focusing more on the exploration of the fringes of each terrain. This focus stems from the will to not use photography as a traditional means of representation of reality but creating a platform for discourse and thought. In order to achieve this dais, he tries to invent his own visual language, using multi-exposures, superposition, juxtaposition and ‘sequentiality’ to interpret, rewrite and therefore, relate to manufactured experiences which are being created on a daily basis by mass media.In short his photography can be summed into Objects, which create an intrinsic world of their own, or in his own words: “My works aren’t pictures of something, but objects about something.”Akzidenz purposefully chooses to use the 20th century medium of film allowing him to see, and therefore place the present into perspective. The choice of black & white and grain become the signifiers that depict and foster the equivalence of life and shape within his work. The single ‘effects’ of contemporary post-processing are not important to his work, to the point that he refuses to use such ‘effects’ - anything beyond the traditional workflow of the darkroom is prohibited in his work.
Guy Bourdin
France
1928 | † 1991
Guy Bourdin (1928-1991) was born in Paris. A painter his entire life and a self-taught photographer, he was working for magazines, such as Vogue as well as for brands such as Chanel, Ungaro and Charles Jourdan. He exhibited his first photographies at Galerie 29 in 1952. Nowadays his work has been exhibited in the most prestigious museums, such as The Victoria & Albert Museum, The Jeu de Paume, The National Art Museum of China, The Tokyo Metropolitan Museum of Photography and The Moscow House of Photography. His oeuvres is part of the collection of many prestigious institutions such as the MoMA in New York, The Getty Museum in Los Angeles, SFMOMA in San Francisco and the collection of the V&A among others. Guy Bourdin's career spanned more than forty years during which time he worked for the world's leading fashion houses and magazines. With the eye of a painter, Guy Bourdin created images that contained fascinating stories, compositions, both in B&W and in colors. He was among the 1st to create images with narratives, telling stories and shows that the image is more important than the product which is displayed. Using fashion photography as his medium, he sent out his message, one that was difficult to decode, exploring the realms between the absurd and the sublime. Famed for his suggestive narratives and surreal aesthetics, he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor. Guy Bourdin used the format of the double spread magazine page in the most inventive way. He tailored his compositions to the constraints of the printed page both conceptually and graphically, and the mirror motif so central in his work finds its formal counterpart in the doubleness of the magazine spread. Layout and design become powerful metaphors for the photographic medium, engaging the eye and with it, the mind. While on the one hand employing formal elements of composition, Guy Bourdin, on the other hand, sought to transcend the reality of the photographic medium with surreal twists to the apparent subject of his images and his unconventional manipulation of the picture plane. Given total creative freedom and with uncompromising artistic ethic, Guy Bourdin captured the imagination of a whole generation at the late 1970s, recognised as the highest note in his career. Guy Bourdin was an image maker, a perfectionist. He knew how to grab the attention of the viewer and left nothing to chance. He created impeccable sets, or when not shooting in his studio rue des Ecouffes in le Marais, in undistinguished bedrooms, on the beach, in nature, or in urban landscapes. The unusual dramas that unfold in these seemingly everyday scenes and ordinary encounters pique our subconscious and invite our imagination. Moreover, he developed a technic using hyper real colours, meticulous compositions of cropped elements such as low skies with high grounds and the interplay of light and shadows as well as the unique make-up of the models. Guy Bourdin irreverently swept away all the standards of beauty, conventional morals and product portrayals in one fell swoop. Around the female body he constructed visual disruptions, the outrageous, the hair-raising, the indiscreet, the ugly, the doomed, the fragmentary and the absent, torsos and death - all the tension and the entire gamut of what lies beyond the aesthetic and the moral,« explains the exhibition's curator Ingo Taubhorn. Bourdin investigates in minute detail the variables of fashion photography, from brash posing to subtle performances and from complex settings to novel and disturbing notions of images. Guy Bourdin was among the first to imagine fashion photographies that contained fascinating narratives, dramatic effects with intense color saturation, hyper-realism and cropped compositions while he established the idea that the product is secondary to the image. A fan of Alfred Hitchcock's 'Macguffin' technique - an inanimate object catalyzing the plot - the photographer constructed 'crime scenes', getting rid of all usual standards of beauty and morals while his images demanded cerebral responses. When such photographers as David Bailey, in the 1960s, produced fantasy images of the girl-next-door, Guy Bourdin captured the atmosphere of the 1970s with sharp humor, erotism and outrageous femininity. Collaborating with Issey Miyake, Chanel or Emmanuel Ungaro, it was his work for the shoe label, Charles Jourdan, that brought him the attention of a wider public. With the campaign, Guy Bourdin dared to barely show the product and turned the shoe into a trivial element of a theatrical mise-en-scène that enhanced sex and bad taste. Guy Bourdin's imagery not only changed the course of fashion photography but influenced a host of contemporary artists, photographers and filmmakers. It is without question, that Guy Bourdin's work for Vogue and his highly acclaimed print advertising for Charles Jourdan in the 1970s are now being seen in the appropriate context of contemporary art.
Fokion Zissiadis
Fokion Zissiadis was born in Thessaloniki in 1956. He studied architecture at the Aristotle University of Thessaloniki and went on to do a Masters degree at the University of Pennsylvania in Philadelphia USA, graduating in 1983. His career to date has been in the hotel and tourism sector, continuing the family tradition as a shareholder in the well-known Sani Resort in Halkidiki and Vice President of Sani S.A. He first took an interest in photography - mainly photographing buildings and urban landscapes - during his years as an architecture student. Later it was nature, on a small or large scale, which became his narrative priority, while he gradually developed more personal, interpretative views of the landscapes he sought to capture. His photography expressed a desire to preserve a wide-angle "view through a personal window" on the world around him. An active man with a passion for the natural world and a love of adventure, he planned journeys to particular destinations where nature reveals the primitive building blocks of which she is made, where the great age of the natural landscape is to be seen, where the visitor is challenged to engage fully and completely with the natural world around him. His photographic work covers a wide range of geological phenomena and diverse terrains: deserts, glaciers, savannahs, volcanoes, rivers, seas, mountain ranges and uplands. He has visited and photographed locations as varied as Peking, Moscow, New York, Los Angeles, Buenos Aires, the capital cities of Europe, Egypt, Patagonia, Botswana, Namibia, South Africa, the Bahamas, Israel, Cappadocia, Constantinople, Malta, Oman, Qatar, Dubai and, most recently, Iceland. His photographs use a keen geometrical sense to interpret the quintessence of the landscape with all those features through which the genius loci is expressed. Through his personal photographic idiom, Fokion Zissiadis expresses his own aesthetic sense of moment and place. The dwarfed human figures almost always included in his photographic compositions create a strong sense of the insignificance of man when confronted with the grandeur and majesty of the natural world. On all his photographic journeys he is accompanied by his lifetime partner and advisor - his wife Mata Tsolozidi Zissiadis. An active man with a passion for the natural world and a love of adventure "Passion under fate becomes pathos. The Aristotelian adage denotes not only my relationship with the Arctic Line, yet my overall feelings towards the area. Intimate sentiments about the burning issue of climate change become the vehicle for the lens to capture the unfathomable beauty of Greenland. Icebergs that flawlessly exemplify a celebration of random wandering and ceaseless transformation. Water as the ultimate procreator. Time that grows into one's living; life that metamorphoses into one's chronos. At the end, it's all about the Analogue Line. Nature seems to be on line. And so is myself. Perhaps, it is also a line that connected me to the publishing of my first book on Iceland with teNeues, and now to my fruitful collaboration with Rizzoli Libri and the upcoming printing, in 2020, of a book with my photos on Vietnam." - Fokion Zissiadis
Galuh Tunggadewi Sahid
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