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Paolo Ameli
Paolo Ameli
Paolo Ameli

Paolo Ameli

Country: Italy
Birth: 1970

Paolo Ameli, was born in Genoa, Italy. After completing his studies in architecture, he works as an art director for various advertising agencies in Genoa. He also works as a freelance photographer. Over the years he has made several short films that have won several national awards. He moved to Milan in 1997 where he began collaborating with Mercurio Cinematografica Production house as production assistant, producer and director. He has been a Freelance director since 1999. He is the author and director of several commercials and music promos. In 2002 he made the short film "Rosso Fango" which, among the various awards, won the David di Donatello in 2003, up to the semi-finalist selection at the 2004 Oscars in the "Live Action Short Film" section. As an mateur photographer he has always cultivated his passion for landscape and nature photography. In the past twenty years he has photographed places around the world with an infrared converted camera.

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More Great Photographers To Discover

Kathryn Oliver
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
Cristina Coral
Cristina Coral
Italy
She lives and works in Italy. She has lived her childhood in an artistic environment. Her approach to photography and its development was almost entirely self - taught. After graduation and several work experience, she has chosen the camera as the main artistic expression. Photographing has become an imperative language. Her works were exhibited at Galleria Carla Sozzani in Milan, at E contemporary Space in Triest, at Leica Gallery in Milan, at Somerset House London for the 2016 Sony WPA exhibition, at Base Milan for the Photovogue Festival 2016, Complesso museale Santa Maria della Scala in Siena. One of her artwork is part of the permanent collection of the MACS Museum of contemporary Art of Sicily. Amongst her recognitions are: two gold medals ,Honorable mentions at Px3 Paris, Honorable Mentions at IPA. Commended Photographer in the Enhanced category of the Open Competition at the 2016 Sony World Photography Awards. Honorary Mention at Life Framer Photography Prize Edition III " An instant " theme series Award. Winner of The Uncanny Contest by Gregory Crewdson and Vogue Italia. Her works have been published and featured on several magazine as Vogue.it, Lens Culture, Trendland, Art Sheep, Musée Magazine Issue 16, Huffington Post de, l'oeil, Fondazione Pitti discovery, Grey, Rai news, Metal, Einaudi, Iris Artist Platform, Plastik, Elle decor, GUP and many other.
Margaret Watkins
Margaret Watkins
Canada
1884 | † 1969
Margaret Watkins (1884-1969) was born in Canada. Best known for art and advertising photography executed in New York in the 1920s, Watkins was active in the Clarence White school of photography and a participant in the shift from pictorialism to modernism. Her working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity. Watkins established a studio in Greenwich Village and in 1920 she accepted the position of editor of the annual publication Pictorial Photography in America. Clarence White asked Watkins to join the faculty of his school, where Watkins met other notable photographers, including Alfred Stieglitz and Paul Strand. She worked for Macy's department stores and for the J. Walter Thompson advertising agency, capturing simple domestic objects with a clarity of modernist vision rare in commercial photography at the time. Her landscapes, portraits, nudes, still lifes, and abstractions received praise and attracted controversy. Exhibitions were held in the United States and in Europe. In 1928, Watkins decided to visit her four elderly aunts in Glasgow, Scotland. She traveled throughout Europe, photographing extensively and producing a body of work documenting post-revolution Russia. Her aunts began to take ill, and Watkins remained in Glasgow to help care for them. She drifted from the spotlight of public recognition, and few photographs or negatives exist from this time. Watkins lived in Scotland in seclusion until her death in 1969.
Cyrus Cornut
Cyrus Cornut
France
1977
Trained as an architect, the photographer's work primarily revolves around the city—its form, transformations, imprints, empty spaces, and the human behaviors it elicits. In 2006, his inaugural exploration of Chinese cities debuted at the Rencontres Internationales de la Photographie in Arles under the artistic direction of Raymond Depardon. He became a member of the Picturetank cooperative agency in 2007, remaining with them until its closure in 2017. In 2010, as part of the France 14 group, he presented "Travelling to the Outskirts," a project delving into the landscapes of mass housing in Île-de-France. Since 2011, his research has extended to the role of plants not only in the urban setting but also in rural landscapes. Presently, he is immersed in the creation of a 4x5 medium format collection, affording him a deliberate examination of urban transformations in both Asia and France. Additionally, he is engaged in a more artistic body of work, blending drawing, engraving, and photography. AWARDS and RESIDENCIES Winner Prix HSBC 2021 Shortlisted for the Camera Clara award, 2020 Mutation Residency. Transit/ Montpellier city 2019 ND Award 2018 1rst price. Shortlisted for the Camera Clara award, 2018 1rst price Singularlens 2018 Laureate of the « Albums du Muséum National d’Histoire Naturelle » grant, 2014 Laureate visa de l’ANI 2012, Promenades Photographiques de Vendôme Shorlisted at the HSBC photography award, 2011 Laureate of the Visas de l’ANI, 2006 Villa Tamaris residency, Seyne sur Mer, 2006 CHONGQING, on the four shores of passing times Chongqing municipality, People’s Republic of China, population of 34 million. One of the world’s highest demographic and economic growth rates. The central urban area of 15 million souls is infused by almost 300 000 newcomers every year. Chongqing, the ''Mountain City,'' at the confluence of the Yangtze and Jialang Rivers, struggles to break through the fog that covers it all year long. Heir to the displaced from the Three Gorges dam and daughter to the Beijing authorities – who upgraded her to a municipality, raising her up to the same heights as her big sisters on the East coast – Chongqing has developed at a dizzying speed. Urban forms and infrastructure have sprung up, gravity-defying, embracing the shorelines of its four banks, each of them steeply carved out by the current of the water. The speed of urbanization has outperformed overtaken the slow rhythm of the fishermen, the erosion of the rivers, the powerful hatching of the mountains. The uninterrupted dance of the cranes and the excavators stack people ever higher in an unsettling quickness. No obstacle remains to stop the skyscrapers from surging up. They reproduce themselves almost identically, like metastases. The transport networks cross the water, pierce through the rock, and climb the hills, defiant of the power of the elements. The river has become the artery that the makes beat an economic heart that is resolutely turned towards the economic conquest of the West by way of the new silk road. Only the banks, almost wild, resist, remaining allied with the river and its caprices. People sitting on its embankments watch it meander, watch their sightlines get blocked out and its banks grow thicker. Here and there they still cultivate a few food-producing gardens while they wait fatalistically for the last bits of bare land to disappear.
Chien-Chi Chang
Chien-Chi Chang
Taiwan
1961
Chien-Chi Chang is a photographer and member of Magnum Photos. Chang was born in Taichung, Taiwan. He received an MS from Indiana University, Bloomington and a B. A. from Soochow University, Taipei. He joined Magnum Photos in 1995 and was elected as a full member in 2001. He lives in Taichung, Taiwan and Graz, Austria. Chang focuses on the abstract concepts of alienation and connection. The Chain, a collection of portraits made in a mental asylum in Taiwan, was shown at Venice Biennale (2001) and the São Paulo Art Biennial (2002). The nearly life-sized photographs of pairs of patients chained together resonate with Chang's look at the less visible bonds of marriage. At São Paulo Art Biennial he was involved in the Thomann controversy. Chang has treated marital ties in two books: I do I do I do (2001), a collection of images depicting alienated grooms and brides in Taiwan, and in Double Happiness (2005), a depiction of the business of selling brides in Vietnam. The ties of family and of culture are also the themes of a project begun in 1992. For 21 years, Chang has photographed and videoed the bifurcated lives of Chinese immigrants in New York's Chinatown, along with those of their wives and families back home in Fujian. Still a work in progress, China Town was hung at the National Museum of Singapore in 2008 as part of a mid-career survey and at Venice Biennale (2011) as well as at International Center of Photography, New York (2012). Chang's investigation of the ties that bind one person to another draws on his own divided immigrant experience in the United States.Source: Wikipedia Chien-Chi Chang has always been fascinated by the human conditions of alienation and connection. Both are in evidence in his signature work, The Chain, which is a collection of portraits made of inmates in a mental asylum in Taiwan. The subjects are people who have had their bonds to the rest of society – family, community – servered. And yet, as part of their treatment, they are chained to one another, physically linked in pairs throughout their days and only unlocked to sleep. These powerful photographs, nearly life size, have been exhibited at the Taipei Fine Arts Museum (2001), La Biennale di Venezia (2001), and the Bienal de Sao Paolo (2002). Less visible bonds were the subject of another project: A jaundiced look at the ceremony surrounding the union of two people. When his parents began pressuring him to marry, Chang responded by making pictures at weddings in Taiwan. The images are hardly festive, rather emphasizing alienated grooms and lonely brides. They have been collected in the book, I do I do I do. This meditation on the nature of the ties that bind a person to others and to society is a natural outgrowth of Chang's own experience of the divided life of an immigrant. The son of working people in central Taiwan, he received a Bachelor of Arts degree from Soochow University in Taiwan in 1984 and a Master of Science degree at Indiana University in 1990. He then became a staff photographer at The Seattle Times (1991-1993) and The Baltimore Sun (1994-1995). Over the past decade, he has worked in New York's Chinatown, documenting the lives of immigrants there. These pictures of illegal aliens stranded on an island within an island have appeared in National Geographic magazine, as well as The New Yorker, TIME Magazine and German Geo. The series earned Chang first place in the category "Daily Life Story" from World Press Photo in 1999. That same year, Chang won a grant from the W. Eugene Smith Memorial Fund for humanistic photography and was awarded the Visa d'Or in magazine photography in Perpignan. He was named the Missouri/NPPA 1999 Magazine Photographer of the Year.Source: artasiamerica Chien-Chi Chang’s photography and films explore the abstract concepts of alienation and connection. His investigation of the ties that bind one person to another draws on his own deeply divided immigrant experience, as he explores the contrasting themes of hope and darkness, restriction and freedom. Chang’s long term interest in the manifestation of restriction and freedom was explored in his project on North Korean defectors. From 2007 to 2009 , Chang travelled with North Korean defectors to document their incredibly harrowing journey escaping to China. Between 2008-2012, Chang worked on a project called Jet Lag, which explored the globalised disconnect of the “jet-setting” lifestyle, culminating in a book of the same name, published in 2015.Source: Magnum Photos
Ricardo Reis
Ricardo Reis
Portugal
1981
Why I Photograph As a young person, I needed and had to put out there so many things that were stuck inside me, and very quickly, I realized that I had a different way of seeing the world. I started noticing that even if there were many people looking at the same thing as me, they weren't seeing what I was seeing. Photography became the most realistic representation of my perspective. Photography blends all the art mediums and I am inspired to create amalgamations of the dream world with the real. I love the challenge of being able to put onto paper the ideas and surreal world of my own creation. My Purpose When I create a photograph image, I want to engage in a dialogue-to make the viewer feel something, even if it's a negative reaction. I appreciate the negative reaction, because I understand I've drawn something out in the viewer: an honest reaction is more potent than an indifferent one. I want to be able to convey an inner conversation-an ambience, a vibe- to create curiosity in the viewer for the lives and moments depicted in my images. My Method I prefer to shoot with black and white 35mm film, because I find it's more honest and direct, at least for me. I like the mental exercise of having to prepare the picture in your mind first and do the chain of thoughts necessary to translate the idea into the final work. Color can be distracting and disruptive of the real intent and emotion I am trying to achieve. My favorite camera is the Canon EOS 1 RS film camera; it has plenty of functions which allow me to have more control over the final product. I love to prepare a playlist and just go and take a walk with my camera and put myself in the mood: a limbo between voyeurism and participant. My Path When I started I wanted to be a war photographer, but in my home country of Portugal, it's very difficult to get the connections necessary to achieve that. I was fortunate to get an internship at a daily newspaper in Portugal which led to my work being published in several major newspapers and magazines. I began to work more in fashion photography and was assigned to the fashion weeks that took place in Europe. During the shows, I found that I always preferred the backstage where I had more freedom to do different things, take more risks. Photography has been the driving force through all my creative pursuits. My love of music, music photography and music videos comprise a large part of my work. As a cinematographer/director for album and DVD covers, I work in collaboration with several European photography agencies in Portugal and in the UK. The more artistic side of my work is represented in several countries and in private collections, from Canada, the UK, France, Netherlands, Australia, China, Portugal, and the United States. Currently I am living in Lisbon, but who knows what's next.
Cédric Gerbehaye
Cédric Gerbehaye
Belgium
1977
Cédric Gerbehaye is a Belgian documentary photographer and a founding member of MAPS agency. He is the author of the books Congo in Limbo, Land of Cush, Sète#13 and D’entre eux. Trained as a journalist, Gerbehaye first turned to photography during trips to Indonesia. For his graduation thesis in 2002, he addressed the Israeli-Palestinian conflict in the light of the ineffectiveness of the Oslo Accords. After completing his studies, he reported on the situation in Hebron and Gaza and on the economic crisis in Israel. He has also covered the Kurdish question in Turkey and Iraq. Since 2007, he has reported on the conflicts between the militias and the national army in the eastern Congo. His work in the Congo was facilitated by the humanitarian organization Aviation sans frontières which flew him into rebel zones and camps in the Ituri and North Kivu provinces where he was able to photograph adults and children involved in both sides of the conflict. He also travelled to remote areas with Médecins Sans Frontières where he reported mainly on the victims, rather than on the violence. "I’m not looking for the combat," he explained. "I’m interested in trying to tell the story of the people." Keen to bring unreported disasters into the open, he thinks of himself as a "concerned photographer. If there is only a slight possibility that it has an impact, it’s my duty to do it so that people cannot say, 'We didn’t know, we had no clue'."Source: Wikipedia
Annette LeMay Burke
Annette LeMay Burke
United States
1964
Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology. Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass. Fauxliage - Disguised Cell Phone Towers of the American West Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained. I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past. More about Fauxliage More about Memory Building
Sandra Tamos
Sandra Tamos
Lithuania
1989
Since my childhood I was attracted to visual arts, painting mostly. I had a dream to become a fashion costume designer when I grow up. When I was 14 things changed. I didn’t lose my passion for painting, but the camera my dad gave me drew me into photography. Since then I started taking self-portraits and gained some photography experience. Later I started reading books about photography and wasn’t taking any pictures for the time being. When I was 18 I bought my first digital camera and started taking pictures of nature. I became addicted to macrophotography, as the camera revealed worlds unseen by a naked eye. When I graduated from school I studied, Technology of photography at Vilnius University of Applied Engineering Sciences, and obtained a Photo Journalist bachelor degree. In photography my most beloved avenues are portrait and dance photography, especially ballet. Ballet for me is something above reality, something spiritual, fantastic. In photos I try to show ballet, the way I see and feel it. I try to create pictures which remind fairy tales or dreams, which look out of this world.All about Sandra Tamos:AAP: When did you realize you wanted to be a photographer?Before graduating, as I remember. It's hard to say what led me to like it. it simply drew me. I never wanted to, but I suppose it was my destiny to become a photographer.AAP: Where did you study photography?Vilnius College of Technologies and Design, Lithuania.AAP:Do you have a mentor?NoAAP: How long have you been a photographer?Since my first shot, five years aproximatelyAAP: Do you remember your first shot? What was it?The first digital photo was a dandelion fluff with water drops. However my absolutely first picture was self-portrait, photographed with old russian film camera, when I was 14.AAP: What or who inspires you?Little bits of everything, I would have to write a book to metnion everything what inspires me, so I will save your time and will only mention few key sources of inspiration. Life, from germination/birth to blossom and so on. Water, in all forms. Fog, tiny drops on leaves or spider web, rain, ponds, rivers.AAP: How could you describe your style?Sensual, mystical, darkly romantic.AAP: What kind of gear do you use? Camera, lens, digital, film?I use Pentax K-5 digital camera, and my favorite lenes are SMC Pentax A 50 f/1,7 and Sigma 30 f/1,4.AAP: Do you spend a lot of time editing your images?Yes, it takes skill and time to turn diamonds into brilliants, same with photos. But I enjoy the process so I dont mind if it takes time.AAP: Favorite(s) photographer(s)?Too many to mention all of them. Lately especially admire Gregory Colbert creation.AAP: What advice would you give a young photographer?Learn how to operate the camera perfectly, theres nothing worse than perfect moment slipping away, or when a moment that was felt right for a perfect picture, ends in dissapointment of failing to freeze it in camera, when it simply doesnt look the way it had to and the way it was perceived.AAP: What mistake should a young photographer avoid?Loosing faith, should be avoided.
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Call for Entries
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