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Win the First Solo Exhibition of 2026! Submit your best project now. Open Theme
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Frédéric Lipzyc
Frédéric Lipzyc
Frédéric Lipzyc

Frédéric Lipzyc

Country: France
Birth: 1954

Frédéric Lipzyc was born in Paris in 1954, he has been a professional photographer for fifteen years. His passion is Street Photo, he never goes out without his little Lumix GX8 which allows him to photograph in a humble and discreet way.

According to his encounters in Paris or elsewhere, with easy contact and full of humanity, he wanders the streets with no specific project other than to catch what moves him. He prefers to move than to surprise.

He allows us to see the most different aspects, the human being is at the center of his compositions. Social photographer, street photographer, he captures what we do not always see, anonymous people whom we wonder who they truly are, what are their joys and sufferings.

The face, the body, the urban life in all its forms are captured by his curious and pure eye.

Frédéric is a photographer of emotion and modesty, expressionist, he conveys emotion through the posture of his characters.

In most of his photos, the urban is there as a character in its own right.

He is the photographer of the human and the emotion in the city.
 

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More Great Photographers To Discover

Marna Clarke
United States
I am 81 years old. I was born and raised in Baton Rouge, Louisiana, and have lived the last quarter of my life in California. The intervening years were spent in pursuit of a college education in North Carolina, working for IBM in Washington, DC, educating myself in photography in New York City and Connecticut, and living in Michigan where my parents finally moved to be near my sister and her family. Somewhere along the way I got married, had two sons, divorced, and stopped photographing. I moved to California in 1996, to Marin County north of San Francisco. Five years later I met a man who saw some of my work on the walls of my home and encouraged me to get back to photographing. He courted me for a year after which he asked me to move in with him. In 2005, he bought me a digital camera and I fell in love again with the magic of recording images I found interesting and unique. In 2010, I started photographing the two of us as we began showing signs of getting old. Little did I know that eleven years later I’d still be engaged in that project, entitled Time As We Know It. I have received numerous recognitions for my work including being accepted into the 2020 deYoung Museum Open Exhibition. I was also awarded the grand prize at the 2021 Kaunas (Lithuania) International Photo Festival and was honored to be voted into the Critical Mass Top 50 artists in Photolucida’s 2021 competition. Time As We Know It On my 70th birthday, I woke from a dream in which I had rounded a corner and seen the end. This disturbing dream moved me to begin photographing my partner and myself, chronicling our time of growing old. Now, eleven years out, he and I face numerous physical challenges: decreased mental acuity, especially memory; the diminished quality of our skin, hair and teeth; mild disfigurement; as well as the need to tend vigilantly to our balance, hearing, sight, physical agility and getting adequate sleep. Inside we are learning to accept what is, sometimes going from anger, impatience, sadness or fear to seeing the humor in the idiosyncrasies of growing old. We realize that if we can be comfortable with our own aged appearances and limitations, then the potential exists that others will become more comfortable witnessing this transformation and possibly become more comfortable with their own. I have entered taboo territory, aging and death. The creation of these photos is part of my own way of dealing with the inevitability of dying by bringing attention to it and accepting it. I have come to embrace them as a tribute not just to our lives but also to the demanding and courageous task of growing old gracefully, graciously, and aware. A certain wisdom is evolving from years of living and observing, eventually unveiling previously unseen associations, patterns and similarities. I am gaining a much-appreciated perspective that was not available to me as a younger woman.
Christian Chaize
Christian Chaize, a self-taught artist, lives and works in Lyon, France. In 1992, he was awarded the Prix European Panorama de Kodak for Young European Photographer in Arles, France. In addition to his artistic achievements, he enjoys a successful career as a commercial photographer. In 2004, Chaize became intrigued by a small stretch of coastline in southern Portugal. Itching an artistic scratch, he began shooting what was then an entirely new subject matter for him. Using medium and large format cameras, his commitment to photographing a single beach front several times a year since then is now evident in the series, Praia Piquinia. This work has been the focus of two one-man museum shows in Portugal, as well as gallery exhibitions in New York, Berlin, and Lyon. Among other publications, it has been featured in The Collector’s Guide to New Art Photography Vol. 2, BLINK MAGAZINE, Issue No. 13, and Elle Decor. In addition to its popularity on 20×200.com, Praia Piquinia is also the subject of Chaize’s first monograph, published by Chronicle Books in the Spring of 2013. Paradis, images made in the Seychelles, and To Praia Grande, a separate beach series shot in Portugal, have also been exhibited in New York and Berlin, respectively. Future projects will continue to reveal his interest in enlightening the way we look at something that has otherwise become banal, or merely familiar. In the words of Marcel Proust, and in the tradition of all the great modern photographers who came before him, Chaize is always seeking to « have new eyes ».
Lee Jeffries
United Kingdom
Lee Jeffries lives in Manchester in the United Kingdom. Close to the professional football circle, this artist starts to photograph sporting events. A chance meeting with a young homeless girl in the streets of London changes his artistic approach forever. Lee Jeffries recalls that, initially, he had stolen a photo from this young homeless girl huddled in a sleeping bag. The photographer knew that the young girl had noticed him but his first reaction was to leave. He says that something made him stay and go and discuss with the homeless girl. His perception of the homeless completely changes. They become the subject of his art. The models in his photographs are homeless people that he has met in Europe and in the United States: "Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait." From then onwards, his photographs portray his convictions and his compassion to the world. "If you will forgive my indulgence, This work is most definitely NOT photojournalism. Nor is it intended as portraiture. It's religious or spiritual iconography. It's powerful stuff. Jeffries gave these people something more than personal dignity. He gave them a light in their eyes that depicts transcendence, a glimmer of light at the gates of Eden, so to speak. The clarity in their eyes is awesome to behold as if God is somewhere in there. He has made these people into more than poor old broken homeless people lazily waiting for a handout from some urbane and thoughtful corporate agent. He infused them with light, not darkness. Even the blind guy has light pouring from his sightless eyes. I think Jeffries intended his art to honor these people, not pity them. He honors those people by giving their likenesses a greater meaning. He gives them a religious spiritual significance. He imbues them with the iconic soul of humanity. I think that's what he was trying to do, at least to some degree thereof."Source: www.yellowkorner.com Lee Jeffries leads a double life – as a full-time accountant near Manchester, and in his free time as an impassioned photographer of the homeless all over the world. A self-taught photographer who started out taking pictures of stock in a bike shop, his epiphany came in April 2008 when, on the eve of running the London Marathon, he snatched a long-lens image of a homeless girl huddling in a doorway, and felt compelled to apologize to her when she called him out for it. Their resulting conversation changed not only his approach to photography; it changed his life. Since that day Lee has been on a mission to raise awareness of – and funds for – the homeless. His work features street people from the UK, Europe, and the US whom he gets to know by living rough with them, the relationship between them enabling him to capture a searing intimacy and authenticity in his portraits. He has published two critically acclaimed fund-raising books, Lost Angels and Homeless, worked with the Salvation Army on a major campaign, and donated the half-dozen cameras he's won in prestigious imaging competitions to charity. He estimates he's given thousands of pounds of his own money to help those he photographs. All this, and he's still 'an amateur'. Source: Nikon In-Frame Read Our Exclusive Interview with Lee Jeffries
Rineke Dijkstra
Netherlands
1959
Rineke Dijkstra was trained at the Gerrit Rietveld Academy, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijsktra's photographs have appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale, the 1998 Bienal de Sao Paulo, Turin's Biennale Internationale di Fotografia in 1999 and the 2003 International Center for Photography's Triennial of Photography and Video in New York. Solo exhibitions of her work have been shown at the Museum fur Moderne Kunst, Germany (2013), the Guggenheim Museum, New York (2012), the Fotomuseum Winterthur, Switzerland (2005), and the Art Institute of Chicago, Chicago (2001). She is the recipient of a number of awards, including the Kodak Award Nederland (1987), the Art Encouragement Award Amstelveen (1993), the Werner Mantz Award (1994), the Citibank Private Bank Photography Prize (1998), and the Macallan Royal Photography Prize (2012). Source: Marian Goodman Gallery Rineke Dijkstra was born in Sittard, the Netherlands, in 1959. She studied photography at the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. Through the late 1980s, she photographed people in clubs for magazines in the Netherlands and worked for corporations as a portraitist. In 1990 she injured her hip when her car was struck by a bicycle. A self-portrait produced during her rehabilitation, in which she is seen having just emerged from a pool, exhausted, sparked a new direction in her work. Commissioned by a Dutch newspaper to make photographs based on the notion of summertime, Dijkstra took provocative photographs of adolescent bathers. These ultimately formed her breakthrough Beaches series (1992–96), which featured her young subjects in different locations in the United States and Europe. From this point on, people in transitional moments would be a major theme in her work. In 1994 she photographed mothers in the moments after giving birth and bullfighters about to enter the arena; she also commenced a series of images of Almerisa, an adolescent Bosnian refugee, whom she continued to photograph until 2003. Dijkstra ventured into video with The Buzz Club, Liverpool, UK/Mysteryworld, Zaandam, NL, taping adolescents at raves between 1996 and 1997. She has also focused on particular individuals entering the military, as in her images of Olivier Silva, a French Foreign Legionnaire (2000–01), and new inductees into the Israeli army (2002–03). For the series Park Portraits (2003–06), Dijkstra photographed children, adolescents, and teenagers momentarily suspending their varied activities to stare into the lens from scenic spots in Amsterdam’s Vondelpark, Brooklyn’s Prospect Park, Madrid’s El Parque del Retiro, and Xiamen’s Amoy Botanical Garden, among others. Source: Guggenheim
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