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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Phil Penman
Phil Penman
Phil Penman

Phil Penman

Country: United Kingdom/United States

The British-born, New York-based photographer Phil Penman has documented the ever-changing scene of New York City’s streets for more than 25 years. In his career as a news and magazine photographer, with a large body of work in such publications as The Guardian, The Independent, The New York Review of Books, among others, he has photographed major public figures and historical events. In particular, his reportage following the September 11, 2001 terrorist attack on the World Trade Center has featured on NBC’s Today show, as well as on the BBC, History Channel, and Al Jazeera, and his images have been included in the 9/11 Memorial and Museum’s archives.

His work covering the pandemic lockdown in New York City has been acquired by the U.S. Library of Congress, whose collection holds work by such great Depression-era documentarians as Walker Evans and Dorothea Lange. Besides showing at Leica galleries in New York, Washington, D.C., Boston, and London, Penman’s signature street photography has appeared in international exhibitions as far afield as Venice, Berlin, and Sydney.

He also tours the world teaching workshops on photography for Leica Akademie. He was recently named among the “52 Most Influential Street Photographers,” alongside such legends as Henri Cartier-Bresson, Sebastião Salgado, Diane Arbus, and Garry Winogrand. Penman’s first book, Street, published in 2019, became a best-seller and was featured at the Museum of Modern Art in New York.

New York Street Diaries
Phil Penman shows the big city on the east coast of the USA from a side that is rarely seen, calm and tranquil. The pictures were taken partly during the great snowstorm and partly during the Corona Lockdown and are thus contemporary witnesses of the pandemic restrictions that completely turned our previously-known world upside down. Born in Great Britain (Poole, Dorset), he has been photographing the streets of New York for well over two decades. He is known, among other things, for his photographs of famous personalities such as Michael Jackson, Madonna, Jennifer Lopez or Bill Gates. When the biggest tragedy in New York's history shook the city on 11 September 2001, Phil Penman was on the spot and created unique footage of the events with his camera.

Penman knows how to capture the city in its most sensitive moments in an impressive way. He catches intimate moments in his black-and-white photographs and shows the people and streets of New York City far away from the hustle and bustle. The city life of the metropolis is presented so closely that some pictures inevitably evoke a smile in the viewer. Penman literally catapults his viewer into the scene with a refreshing directness and the feeling of really being present.
New York Street Diaries
 

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More Great Photographers To Discover

Ian Berry
United Kingdom
1934
Ian Berry made his reputation as a photojournalist reporting from South Africa, where he worked for the Sunday Times and Drum magazine. He was the only photographer to document the massacre at Sharpeville. While based in Paris he was invited to join Magnum by Henri Cartier-Bresson. He moved to London to become the first contract photographer for the Observer Magazine. He has covered, conflict in Israel, Ireland, Vietnam, Czechoslovakia and Congo, famine in Ethiopia and apartheid in South Africa. He has also reported on the political and social transformations in China and the former USSR. Awards include Nikon Photographer of the Year (twice), Picture of the Year award from the National Press Photographers of America, and British Press Magazine Photographer of the Year (twice). Arts Council Award, Art Directors' Club of New York Award. His books include The English, two books on South Africa, Sold into slavery and Sea. Exhibitions in London, Paris, Hamburg, Brussels, Bradford, Perpignan, Aix en Provence Shanghai, Lowry Gallery, Walker Art Gallery Liverpool, Edinburgh, SCOP Shanghai, Hastings, Bruges. Ian Berry: Street Photography Photojournalism, documentary, reportage, call it what you will, shooting on the street is not easy. It needs a level of dedication and commitment as well as preparation, both mentally and with your shooting equipment. I'm aware of the differences of opinion over whether a photographer should ask a potential subject's permission before taking a picture. My take on the matter is that if you want a self-conscious stare into the camera, by all means ask, but if you want a potential subject in their natural environment and make a picture that reflects the situation, then shoot first and, if needs be, talk later. If observed, a smile nearly always puts your subject at ease. Often I find that if I walk out of a hotel in a strange city and go unnoticed when shooting the first picture, I'm high all day and can photograph non-stop without being seen or rebuffed, but a bad reaction from the first subject and I might as well go back to bed. A good way to hone your skills is to attend local events, street fairs and even pet shows, places where people are more amenable and accustomed to being photographed. It goes without saying that whether planning to shoot abroad or in Britain one should respect local customs and dress codes. It's no good wandering around a city in shorts and colourful T-shirts if you wish to move unobserved. This selective process also applies to equipment; whether you compromise between the Christmas tree approach and the sneaky ‘one camera in the hand behind the back' system, and between carrying enough gear to cope with whatever might arise, but not so much that you're exhausted after a few hours. I'm always amazed at colleagues who walk up to people with a 28mm lens and a flashgun banging away in their faces. It certainly creates a style but adds artificiality that I find unpleasant, both visually and in terms of aggression towards the subject. I think a style on the street should be created by a vision rather than a technique. Also the benefit of today's digital cameras to boost the ISO has enabled me at least to ditch a flashgun altogether during the day. Once in a while a new photographer joins Magnum with a totally different vision, like Russian Gueorgui Pinkhassov, who really excites me and makes me want to go out and shoot, not to recreate his style but rather to reinvent myself. I love to shoot with two fixed focal length lenses on two quiet Olympus cameras hanging around my neck, partially concealed under a vest or jacket. Only partially concealed because I don't want it to appear as if I were trying to hide the fact I am a photographer. The lenses I use are a 28mm and a 50mm, which are small, light and fast. I prefer fixed focal length lenses because I like to know exactly what is going to be in the frame, and it's far easier to take half a step forward or backward than fiddling with a zoom. In Magnum the jury is out among the street shooters over whether a DSLR or a range finder is the better choice, but nearly all use single focal length lenses. The other plus of a small camera is that you are often perceived as an amateur photographer and therefore less of a threat to the people you're photographing. Shooting with a long zoom on the street is a definite no-no, as you will be viewed as a voyeur. Curiously, I find I can be 3ft or 4ft from someone, shoot with a 28mm lens and pass by unnoticed and yet be obvious at 15ft. A recent fashion trend I don't think works is trying to carry equipment in a rucksack. It's great for the countryside or getting to or from a location but on the street every second counts and by the time you get a camera or lens out of this sort of bag, night has fallen and everyone has gone home. I find that a soft bag of the Domke variety will hold a body with longer lens inconspicuously but within quick reach. Whatever your kit set-up, however, the same creative needs apply. The ability to recognise a potential situation and produce an elegant composition in a fraction of a second on the street is what separates the great photojournalists such as Eugene Smith, Sebastião Salgado and Alex Webb from the rest of us. I've noticed that with that ability comes the physical stamina and professionalism to pound the streets for 12 hours on the trot. The basic elements are either to grab the decisive moment on the hoof, to see a potential situation and hover unseen until it develops, or spot a potentially great background and be prepared to hang around for an hour or more until the right juxtaposition of people slot into place in front of you. This is something I frequently do, especially in a foreign environment; simply wait until you become part of the fixtures and fittings so that when you raise the camera slowly and smoothly to the eye, no one's attention is drawn by an unusual movement. One of the great things about growing up photographically in Magnum was the words of wisdom dropped casually on occasion by Henri Cartier-Bresson. For example, "A great photograph is not an intellectual result, the only intellectual involvement is being there in the first place. The actual moment is purely intuitive, like squeezing the trigger of a gun when your subject is in exactly the right place in the frame." On another occasion as we were wandering around in Paris, "Walk softly and slowly. If you are moving quickly and stop suddenly, the people you are about to photograph will react to the change of pace in their peripheral vision and become aware of you." Street photography in Britain has become another issue. Years ago when travelling from Istanbul to Beijing by train, I'd passed from Iran into Turkmenistan and was shooting in the capital, Ashgabat. Most of the main buildings had 15ft-high portraits of the President in true personality cult style and after wandering around I chose what I thought was the most interesting building architecturally. I then stood for quite a while waiting for interesting people to pass by to make up the shape. After a short time a couple of guys came out of the building and watched me, then came over and ‘invited' me into the building. It transpired I was photographing the equivalent of the FSBheadquarters. One of the men spoke excellent English and after quizzing me in a not unpleasant way, asked that if he were to come to London would he be allowed to photograph Scotland Yard? In response I invited him to call me when he was next in London so we could photograph it together. Sadly I could not do that any more, we are no longer that relaxed a society. So what to do when you're in front of the Bank of England trying to shoot an essay on the City and an officious PCSO or a jobsworth from the nearest sock shop arrives to tell you to desist, or worse, delete your images? The advice of lawyer Rupert Grey, who knows a thing or two about photographers' rights, is to keep your cool, be polite and explain that you are perfectly entitled to take photographs in a public place without being hassled. The public are more sensible on the whole, although it's still best to avoid photographing children. Years ago when shooting for my book, The English, I was able to go into school playgrounds with the teachers' approval and thought nothing of it; and it was the same in shopping centres, even hospitals, but no longer. Having said that, not too long ago I was passing an African-Caribbean church and stopped outside to take a few pictures of people milling around, only to be invited in to photograph the service – a pleasurable experience in this age, which tells me that one should not give up on recording life in Britain. Ian's words of wisdom "Know your camera inside out. Walk with your finger on the release. Have your lens pre-focused (Josef Koudelka had bits of matchsticks glued to Olympus lenses at different points to focus by feel). A single focal lens is best. I shoot on aperture, only adjusting as light conditions change. Don't be intimidated, most people are happy to be photographed. If nervous walk with a friend, although they are always distracting and get in the way. Buy a waistcoat or jacket a size too big to keep your camera concealed inside. Look around you constantly. Be discreet; looking beyond the subject after shooting often helps. If confronted, good-humoured banter and a smile always work."
Tariq Zaidi
United Kingdom
Tariq Zaidi is a freelance photographer currently based out of London, UK. In January 2014, he gave up an executive management position to pursue his passion of capturing the dignity, strength and soul of people, within their environment. His photography focuses on documenting social issues, inequality, traditions and endangered communities around the world. Tariq's stories, images and videos from Afghanistan, Angola, Brazil, Cambodia, Chad, DRC, El Salvador, Ethiopia, Georgia, Haiti, Indonesia, Mongolia, North Korea, Republic of the Congo & South Sudan have been featured internationally in over 900 magazines / newspapers / websites (in more than 90 countries) including The Guardian, BBC, CNN, National Geographic, Smithsonian Magazine, Los Angeles Times, Washington Post, Chicago Tribune, Der Spiegel, El Pais Semanal, Geo, Independent On Sunday, National Geographic Traveler, GQ, Marie Claire, Vogue, GQ Style, Esquire, PDN, Frankfurter Allgemeine Zeitung, 6 Mois, Telegraph, Conde Nast Traveler, Global Times China, Internazionale, Feature Shoot, China Daily, People's Daily, China, Deutsche Welle, Das Erste/ARD, Hindustan Times, Newsweek, Foreign Policy Magazine and Times of London among other respected international titles. Tariq has won many major international photography awards (POYi, UNICEF, NPPA, PDN, IPA, AI-AP, AAPA etc). His work has been shown in 80 international exhibitions and he has worked on projects and assignments in 21 countries across 4 continents. He is a self-taught photographer, holds an M.Sc. (Master of Science) from University College London and is an Eddie Adams Worksop 2015 Alumini. In Feb 2018, Tariq was awarded one of the Premier Awards in POY75 (Pictures of the Year International Competition) - "Photographer of the Year" Award of Excellence for his work from North Korea, Congo and Brazil and also for 2nd place in the Feature Category in the same year. He was also a winner of PDN Photo Annual 2018 (Photojournalism / Documentary Category) and was awarded The Marty Forscher Fellowship Fund for outstanding achievement in Humanistic Photography, presented by PDN and Parsons School of Design, USA. In 2019, he was nominated to the Prix Pictet. In 2020, his work from Congo, El Salvador and Georgia was recognised 5 times by POY77 (Pictures of the Year International Competition) including 1st place for Portraits Series, 2nd place Spot News and 3rd Place Issue Reporting. His work from El Salvador has also been honoured as a 2020 Amnesty International Media Awards finalist (Photojournalism category) in recognition of his commitment to human rights. In Sep 2020, Tariq's work entitled Sapeurs: Ladies and Gentlemen of the Congo was shown at Visa Pour L'image, International Festival of Photojournalism. Tariq is currently working on a long-term personal project entitled Capturing the Human Spirit - a visual anthology about hope, dignity and community in some of the poorest regions in the world. The first 3 chapters of this work from the slum communities of Haiti, Brazil and Cambodia was featured at Visa Pour L'image, International Festival of Photojournalism, in September 2018. His first book Sapeurs: Ladies and Gentlemen of the Congo was published in September 2020. Articles Tariq Zaidi's Exclusive Interview Sin Salida Cattle of Kings - The Mundari of South Sudan Sapeurs North Korea The People's Paradise All about Photo Compeitions All About Photo Awards 2018 All About Photo Awards 2022 All About Photo Awards 2023
Deba Prasad Roy
I was born in the year 1952 and clicked my first photograph in the year 1968 with an Agfa CLICK III camera. Then I used Agfa ISOLI 2 for some years. In 1992 I bought Pentax K 1000. & NIKON film cameras till 2008. I was a member of “Photographic Association of Bengal” since September 2003 to March 2012. I acquired a bit of proficiency in photography following the senior photographers of the club (not in age), who are entitled to write distinctions approved by The International Federation of Photographic Art (FIAP), & The Photographic Society of America (PSA). In this period I have participated hundreds of FIAP & PSA approved Salons and other photographic competitions. After my official retirement from Banking Service, I engage myself as a Freelance Documentary & Travel photographer to pass my retirement holidays and as a passionate and serious photographer ”Participated and still participating in photography competitions throughout the world and try to win prizes and recognition.. I am a professional photographer from my heart (Not as those who sell their photographs for their livelihood or those who are working as an employee in any organization.). I never sold a single photograph in my livelihood i.e. for money. So the meaning of a professional photographer is different to me. A NOBLE MISSION A NOBLE MISSION is partially a story of economic exploitation by the employers worldwide in underdeveloped and developing countries and simultaneously deliberate callousness and negligence of the Government and its agencies make this labor force vulnerable in the hands of the entrepreneurs. The other side of the story is the dedication of the two women teachers; their voluntary service to provide a minimum education to those historically illiterate students, no one in the previous generations of them including their parent got any elementary education in any school. We should also keep in mind the economic sacrifice of the teachers, in these days time is money, if they teach any other students in the society they are definitely eligible for remuneration and may get a chance to uplift their own economic status. That is the point which impressed me a lot. PLASTIC RECYCLING AND ENVIRONMENT Plastic pollution is a major global phenomenon that has crept up on us over the decades, and it really requires a global and comprehensive solution that includes systemic rethinks about usage and production. While carbon emissions and water use are pretty firmly embedded in the consciousness of most organizations, the use of plastic generally is not. But campaigners and scientists are increasingly sounding the alarm over the amount of plastic that is used wastefully (think of single-use drink bottles and packaging materials), which ends up as trash in rivers and oceans. Many say that plastic pollution has swelled into a major threat for the world’s oceans and for the global environment as a whole. Here is why: About 300 million tons of plastic is produced globally each year. Only about 10 percent of that is recycled. In other words, because plastic is inexpensive, lightweight and durable, virtually every industry — be it retailing, manufacturing or logistics — loves it. Because it is light and cheap, and because it is so durable, it does not “go away.” Plastic accumulated over half a century is now out there. That could mean reducing wasteful use; collecting, reusing or recycling plastic trash; stepping up the use of recycled plastic or of more easily biodegradable materials; and modifying product designs to minimize plastic use. There by we could leave our world as habitable for our future generations.
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
Edward S. Curtis
United States
1868 | † 1952
Born in 1868 near Whitewater, Wisconsin, Edward Sheriff Curtis became one of America's finest photographers and ethnologists. When the Curtis family moved to Port Orchard, Washington in 1887, Edward's gift for photography led him to an investigation of the Indians living on the Seattle waterfront. His portrait of Chief Seattle's daughter, Princess Angeline, won Curtis the highest award in a photographic contest. Having become well-known for his work-with the Indians, Curtis participated in the 1899 Harriman expedition to Alaska as one of two official photographers. He then accompanied George Bird Grinell, editor of Forest and Stream, on a trip to northern Montana. There they witnessed the deeply sacred Sundance of the Piegan and Blackfoot tribes. Travelling on horseback, with their pack horses trailing behind, they emerged from the mountains to view the valley floor massed with over a thousand teepees - an awesome sight to Curtis and one that transformed his life. Everything fell into place at that moment: it was clear to him that he was to record, with pen and camera, the life of the North American Indian. Edward S. Curtis devoted the next 30 years photographing and documenting over eighty tribes west of the Mississippi, from the Mexican border to northern Alaska. His project won support from such prominent and powerful figures as President Theodore Roosevelt and J. Pierpont Morgan. From 1911-1914 Curtis also produced and directed a silent film based on the mythology of the Rawakiutl Indians of the Pacific Northwest. Upon its completion in 1930, the work, entitled The North American Indian, consisted of 20 volumes, each containing 75 hand--pressed photogravures and 300 pages of text. Each volume was accompanied by a corresponding portfolio containing at least 36 photogravures.Source: www.edwardscurtis.com Edward S. Curtis was born near Whitewater, Wisconsin. His father, a Civil War veteran and minister, moved the family to Minnesota, where Edward became interested in photography. In 1892, Curtis purchased an interest in a photographic studio in Seattle. He married and the couple had four children. He later settled in Los Angeles, where he operated photographic studios at various times on La Cienega Boulevard and in the Biltmore Hotel. As a friend of Hollywood producer Cecil B. DeMille, Curtis was commissioned to make film stills of some of DeMille's films, including the epic, The Ten Commandments. In 1899, he became the official photographer for the Edward Harriman expedition to Alaska and developed an interest Native American culture. Curtis is best known for his documentation of Native American cultures published as The North American Indian. From about 1900 to 1930, he surveyed more than 100 tribes ranging from the Inuits to the Hopi, making more than 40,000 photographs. He made portraits of important and well-known figures of the time, including Geronimo, Chief Joseph, Red Cloud, and Medicine Crow. Source: Etherton Gallery
William Castellana
United States
1968
William Castellana is an award-winning photographer whose images have been published internationally in periodicals such as Silvershotz (The International Journal of Contemporary Photography), Rangefinder, Creative Quarterly (The Journal of Art & Design), Newsweek, Time, New York, and others. His photographs reside in the permanent collections of over 40 museums in the US including the Hood Museum of Art, Museum of the City of New York, Museum of Modern Art Library, Yale University Library, New Britain Museum of American Art, Southeast Museum of Photography, and the Hunter Museum of American Art. About the Series Street photography, in terms of the "unposed," is a practice that serves the compelling need to distill the ebb and flow of visually complex interactions into static form - forever fixed and with meaning. It is this desire to understand more deeply the rhythms of humanity that takes me to the streets in search of clarity. In their simplest sense, the images in this series form a social document of a people and a place; namely, a sect of Hasidic Jews known as the Satmars. This sect of Hasidic Jews was founded in Satu Mare, Romania by Rabbi Joel Teitelbaum in the early 20th century. After WWII, Teitelbaum settled in Williamsburg, Brooklyn to lay the groundwork for a religious ideology that would launch one of the largest Hasidic movements in the world. Since Teitelbaum's death, the Satmar community has grown exponentially and continues to thrive economically and spiritually through closely observed traditions and social mechanisms. Between the fall of 2013 and 2014, I set out to photograph my neighbors in the one-half square mile area below Division Avenue, which demarcates the religious from the secular communities of Williamsburg, Brooklyn. The photographs in this book are constrained to the "neighborhood view," since my outsider status made access to a more privileged look impossible. As an outsider, what I witnessed through my camera during that period was forever new and unique compared to my everyday routine and what the rest of the city's inhabitants were pulsing to. For me, street photography is about the preservation of time and place - a kind of poetry that distills both in equal measure.
Sonia Melnikova-Raich
Russia/United States
1947
Sonia Melnikova-Raich was born in Moscow in 1947 and has been living in San Francisco since 1987. She was trained as an artist and architect, with a Master's degree from the prestigious Moscow Architectural Institute. Her approach to photography is shaped by her background in painting and architecture. Influenced by the vision of Russian Constructivists of the 1920s and the photography of the Bauhaus movement, she is interested in exploring the abstract in the material world, drawing the viewer's attention to the inner geometry of the photograph and its compositional structure. Her Light+Shadows series, which revolves around the mystery of perspective and geometry created by light and darkness in the architectural image, was inspired by the words of the famous American architect Louis Kahn: "The sun never knew how great it was until it hit the side of a building." Distinct from her high-contrast architectural photography, many of Sonia's other works (Within My Sight, Råbjerg Mile Dunes, Waking Dreams, and other series) explore the poetry and mystique of low-light environments, capturing fleeting moments, barely visible, ambiguous or disappearing things. She feels a strong affinity with the Japanese philosophy and aesthetic of wabi sabi, with its reverence for the subtle beauty in old and simple things, and focus on transience and impermanence. She believes that photography is the best medium to express these concepts, as each photograph is inherently an image of disappearance, a reflective connection to the past forever stamped by time. Since 2005, Sonia's photography has been exhibited locally, nationally, and internationally. In addition to three solo gallery shows in San Francisco, her photographs have been exhibited at LoosenArt Gallery in Rome, Fotogalerie Friedrichshain in Berlin, and various venues in the USA, with some of her works in the permanent collection of the Lafayette Public Library in California. She has been among the winners in many juried competitions, had her works featured in professional photography journals, and was listed in 100 Hot Photographers of 2022 and 2023 by YourDailyPhotograph.com, the project by Duncan Miller Gallery in Los Angeles, an internationally recognized gallery specializing in 20th and 21st Century fine art photography. Winner AAP Magazine #30 Shadows
Eszter Halasi
I am Eszter Halasi, a self-taught photographer from Hungary currently residing in England. With a passion for capturing meaningful moments, I specialize in portraits of children and families, and the ethnic group lifestyle. My goal is to challenge stereotypes and promote understanding through my images. Throughout my journey, I have received recognition for my work, including a bronze prize in the Budapest Photo Awards and honorable mentions in International Competitions. I continually seek opportunities for growth. I achieved second place in the Hungarian Press Photo, Portrait and Human Portrait category in 2021. I has been shortlisted on : Portrait of Britain (2022) and ( 2023), Global Peace Photo Award (2023), International Women in Photo Award 2023, Finalist at the BCN-DH International Photo Festival 2023 My photographs have been featured in online publications and exhibited at festivals, showcasing the diverse narratives I strive to capture. Through my lens, I aim to evoke empathy, challenge perceptions, and celebrate the beauty of life. As I continue to explore the art of photography, I am dedicated to telling compelling stories and making a positive impact through my images. I hope my work is a visual journey into the essence of human experiences. Whoever believes in the miracle of Csatka It will happen to them Every year around Mary’s Day, the Csatka Pilgrimage is held - this is when Roma families from all over the Carpathian Basin who believe in the mystery of the Csatka Holy Well travel to the village in Komárom-Esztergom county. . This year I visited the Csatka Pilgrimage for the first time, which I had only heard of before, and it became clear to me on the spot that it is a duty for a photographer of Roma origin to take pictures. This event still brings families together. Many meet their relatives once a year, who live far away. They settle down in the meadow next to the church, cook, chat, walk down to the wonderful spring, pray, light a candle. Joy, happiness and quiet humility permeate the whole pilgrimage - I tried to capture this in the pictures. Károly Eötvös, a renowned jurist and equally famous storyteller of the turn of the century, said that the Csatka pilgrimage began in 1867. The Catholic Church did not officially recognize Csatka as a place of pilgrimage, only as a place of worship. The pilgrimage is also a real social event in the life of the gypsies, besides religion: many baptize their children here, but marriages are also common, and business deals are made in the tents and tables set up on the nearby hilltop. Many poured the healing water of the holy well into empty bottles, fewer into smaller ones, and before or after they all visited the Virgin Mary chapel, which József Csöbönyei built in 1862 in the middle of the beautiful valley, because the mother of the Son of God appeared to the hermit. at this place.
Thomas Hoepker
Germany
1936
Thomas Hoepker is a German photographer and member of Magnum Photos. He is known for stylish color photo features. He also documented the 9/11 World Trade Center destruction. Hoepker originally made a name for himself in the 1960s as a photojournalist with a desire to photograph human conditions. Hoepker was born in Munich, Germany. He first began taking pictures when he was 16 and received an old 9x12 glass plate camera from his grandfather. He developed his prints in his family's kitchen and bathroom, and began to earn a little money by selling pictures to friends and classmates. Hoepker studied art history and archaeology from 1956 to 1959 at Göttingen, in Munich, Germany, where he was taught about understanding images and composition. While in school he continued to photograph and sell images to help finance his education. From 1960 to 1963 he worked as a photographer for Münchner Illustrierte and Kristall, reporting from around the world. Then in 1964 he began working as a photojournalist for Stern. In the 1970s he also worked as a cameraman for German TV, making documentary films. In 1976 he and his wife, journalist Eva Windmoeller, relocated to New York City as correspondents for Stern. From 1978 to 1981 he was director of photography for American Geo. From 1987 to 1989 Hoepker was based in Hamburg, working as art director for Stern. Magnum Photos first began distributing Hoepker's photographs in 1964. He became a full member in 1989. He served as Magnum President from 2003 to 2006. For much of his career Hoepker used Leica cameras. In the 1970s he began to also use single-lens reflex cameras alongside his Leica, using Leicas for wide angle shots and Nikon or Canon cameras with zoom lenses. In 2002 he began using digital SLRs. Today, Hoepker lives in New York City with his second wife Christine Kruchen, with whom he produces TV documentaries.Source: Wikipedia
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