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Fabien Dendiével
© Antoine Seguin
Fabien Dendiével
Fabien Dendiével

Fabien Dendiével

Country: France

Fabien Dendiével was born in Paris : as a lonely child, he kept himself busy with drawing futuristic urban panoramas and joined the Louvre art school. At the same time, his father introduced him to film photography and Fabien trained as an autodidact. His practice intensifies when he switches to medium format cameras, mastering the light and the frame of his subject as closely as possible. Empty spaces and stripped-down compositions are his favorite exercise, as a method to enhance showing the invisible. Whether it's the great outdoors of the American West or modern architecture, he treats the composition of his shot like a scene in a movie, waiting for the light to reveal the best of the scenery. Fabien's work remains confidential for some time until he finally decides to produce and sell large format prints in 2019.

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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
Beverly Conley
Beverly Conley
United States
Beverly Conley is a documentary photographer in Benicia, California. She has found true satisfaction in long-term self assigned projects that have focused on individuals and contemporary society. Her quest has allowed her to enter the private world of Gypsies in England, the Cherokee Nation in Northeastern Oklahoma, steelworkers in Weirton, West Virginia and the Cape Verdean Communities in Boston and the Cape Verde Islands. Solo exhibitions include the Fort Smith Regional Art Museum in Arkansas, the Black Arts Center in Kalamazoo, Michigan, the Museum of Native American History and Culture in Bentonville, Arkansas, the Boston Public Library and the George Meany Center for Labor. Her work has been featured in juried exhibitions and group shows such as the Festival of American Folklife at the Smithsonian Institution and the Cleveland Museum of Art. She is represented in numerous permanent collections including the Smithsonian's National Museum of African American History and Culture, the Toledo Museum of Art, the Cleveland Museum of Art, the Museum of London, the New York Public Library, the Schomburg Center for Research in Black Culture, the Boston Public Library, the Museum of Native American History and Culture in Bentonville, Arkansas and the Cleveland Public Library. Beverly is the recipient of a 2002 Michigan Creative Artist Grant and she has received awards from the Utah Press Association, the International Regional Magazine Association and an excellence award by Black and White Magazine for their 2017 Special Issue. She is a member of the American Society of Media Photographers (ASMP). Life in the Ozarks: An Arkansas Portrait My ongoing project began in 2003 with a drive down a rural country road. I had recently moved to Fayetteville and was anxious to explore my new surroundings. The resulting images tell the stories of people, events and everyday life in and around small towns in the rugged Ozark Mountains. They represent different aspects of these communities – young and old, recent immigrants, preachers, cowboys, farmers and those whose families have lived in the Ozarks for generations. I am interested in documenting the vestiges of an older Ozarks. There is a sense of timelessness that I want to convey in my work. I am drawn to the less travelled back roads where catfish are caught bare-handed, folks gather on porches to play bluegrass and subsistence farming is still in existence. Living and photographing in the same place gave me the opportunity to observe the changes of a region in transition. Northwest Arkansas experienced tremendous growth in the last decade with rural communities inching closer and closer to cities. I really imagined this unique Arkansas heritage would be lost. What I have since discovered is the resilience and self- sufficiency of a complex culture that stands with one foot in the present and the other in the past. An individual might have a day job at a Walmart but returns to a hand built home and the traditions of the 'holler' at night. Through these photographs and words it is my intention to preserve and share the richness of this Southern way of life with a broader audience. Life in the Ozarks: An Arkansas Portrait Appleby Horse Fair: The Annual Gathering of Gypsies & Travellers Smithfield Market
Carol Beckwith
Carol Beckwith
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked.Source: carolbeckwith-angelafisher.com
Phil Penman
Phil Penman
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
Ansel Adams
Ansel Adams
United States
1902 | † 1984
Ansel Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed an exacting system of image-making called the Zone System, a method of achieving a desired final print through a deeply technical understanding of how tonal range is recorded and developed during exposure, negative development, and printing. The resulting clarity and depth of such images characterized his photography. Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 12, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980. Adams was a key advisor in establishing the photography department at the Museum of Modern Art in New York, an important landmark in securing photography's institutional legitimacy. He helped to stage that department's first photography exhibition, helped found the photography magazine Aperture, and co-founded the Center for Creative Photography at the University of Arizona. In his autobiography, Adams expressed his concern about Americans' loss of connection to nature in the course of industrialization and the exploitation of the land's natural resources. He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere."Source: Wikipedia To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things. -- Ansel Adams American photographer and environmentalist known for his black and white photographs of the American West in Sierra Nevada and in Yosemite National Park. Ansel Easton Adams was born in 1902 in an upper-class family. His family migrated from Ireland in the early 1700s. He was the only child of Charles and Olive Adams. His paternal grandfather founded a successful lumber business, which was later run by Ansel’s father. His mother’s family came from Baltimore. His maternal grandfather had a successful Freight-Hauling business, but squandered his wealth in numerous investment ventures. His nose was broken and scared during the San Francisco earthquake of 1906 as an aftershock threw him up against a wall. After the death of his grandfather the family business was hit by the bank crisis of 1907 and by 1912, his family’s standard of living had been dearly impacted. Ansel was a hyperactive child prone to sickness. After being expelled from several schools due to his restlessness, at age 12, his father decided to tutor him at home with the help of professors and Ansel’s aunt. He soon became interested in music and started learning the piano, but all changed when aged 14, his aunt gave him a copy of “In the Heart of the Sierras”. The photographs by Georges Fiske were a revelation and Ansel persuaded his parents to visit Yosemite National Park during the following vacations. Equiped with a Kodak Box Brownie n°1, Ansel Adams first visited Yosemite National Park in 1916. Amazed by the site and the light, he returned to Yosemite National Park the following year with better cameras and a tripod. He will return regularly to Yosemite National Park where he will even meet his future wife, Virginia Best. You don’t take a photograph, you make it. -- Ansel Adams At age 17, Adams joined the Sierra Club, a wildlife preservation group. He will remain a convinced environmentalist and a member of the Sierra Club his entire life. His work will promote the goals of the Sierra Club and bring environmental issues to light. In 1932, Adams founded the group f/64 with photographer friend Edward Weston, to promote their independent and modernist vision of photography. It is with Fred Archer that Adams will develop the Zone System (1939-40), a technique which allows photographers to define the proper exposure on negatives and adjust the contrasts on the prints. The depth and clarity of Ansel Adam’s photographs illustrate this technique. Initially, despite their size and weight, Ansel Adams used large format cameras as they offered a high resolution and a sharp image. The timeless photographs and the striking visual beauty clearly characterize Ansel Adams’ photographs. In 1952, he was also one of the founders of Aperture magazine. He died in 1984 from a cardio Vascular disease. Shortly after his death in 1984, the Minarets Wilderness in the Inyo National Forest was renamed the Ansel Adams Wilderness. In 1985, a peak in Sierra Nevada, was named Mount Ansel Adams. He was survived by his wife, two children and 5 grand children.Source: The Ansel Adams Gallery
Gustavo Lacerda
Gustavo Lacerda
Brazil
1970
I was born in Belo Horizonte (Brazil) and got my BA in Media from the Federal University of Minas Gerais (UFMG). I have lived in São Paulo since 2000. I began photographing in the 1990s as a newspaper photographer and then migrated to advertising photography. Throughout it, I have always developed my own authorial projects. I have had the joy to receive some awards such as the Conrado Wessel Art Award (2011, 2007, 2006 and 2005), Porto Seguro Photography Award (2010), the Silver Lion at Cannes Lions International Festival of Creativity (2010), D&AD Global Awards in London (2004), and the Gold Medal at New York Festivals International Advertising Awards (2002). Some of my works are now part of the Pirelli permanent collection of the São Paulo Museum of Art - MASP (Sao Paulo/Brazil), Catherine Edelman Collection (Chicago/USA), FOTOMUSEO (Bogota/Colombia), Photography Museum/Silvio Frota Collection (Fortaleza/Brazil), Porto Seguro Collection(Sao Paulo/Brazil) and SESC Collection (Sao Paulo/Brazil). I am represented by Catherine Edelman Gallery in Chicago, Arte 57 in São Paulo and Quadrum Gallery in Belo Horizonte. My work has been exhibited in France, Germany, Belgium, Spain, The United States, Colombia, Korea, Angola, Uzbekistan and Singapore. Discover Gustavo Lacerda' s Interview
Marina Lauar
Marina Lauar
Brazil
1993
Marina Lauar is a Brazilian visual artist. She develops her artwork in Fine Art Photography, where she uses a pictorial language to construct of her narratives. As a plural artist she appropriates elements that expand formal photography and allow the mix of printed photography with other gestures and techniques. She finds in the portrait an appropriate field for her discussions and critical reflection, which she builds through minimalist and potent images. Her research currently circulates between the deconstruction of already rooted stereotypes and her own self-perception. About Plastic Portraits The project was born during my renaissance as an artist. After some time feeling completely blocked, hands, feet, head, and heart tied, I found myself in a huge need to express my concerns through photography. Fine Art Photography is a fertile field that allows the cultivation of reflections and dialogues, so I chose it as language, to be the home of my yearnings. I create portraits aiming to deconstruct beliefs, sometimes using satire, sometimes critical reflections and their depths, sometimes pure intimacy, things that will never be said. The atmosphere is reaffirmed by the way I work with the light. I seek minimalism so that only a key element fulfils its role as a critical factor in the image. My principal goal with this project is to traverse. Conceive feelings, make the feeling palpable. Build next to portrayed the script that will guide us in the production of the pictures, in the choice of the element, so that everything there in that image has great strength and meaning to the portrayed. To emanate with my eyes feelings that overflow in the other.
Madison Casagranda
Madison Casagranda
United States
Madison Casagranda is a recent graduate from Brigham Young University where she studied photography and art education. She works primarily with alternative photographic processes in the darkroom, and enjoys the hands-on nature of these processes. Her goal is to communicate culturally and historically significant concepts and connect us to the past in order to address challenges in the present day. Her photography most often centers around her personal and family history, United States history, anti racism, and amplifying voices from marginalized communities. She has had two solo exhibitions at BYU and her work has been included in many group exhibitions across the country, including at The Springville Museum of Art, The Southeast Center for Photography, and The Praxis Gallery. Her work has been published in Communication Arts and she is currently working on self publishing a book of her series, The Black Stories Project. The Black Stories Project The wet plate collodion tintype process was first invented in the 1850s and became a primary photographic practice in the 1860s and 1870s, documenting much of the Civil War. The tintypes of the Black Stories Project embody the history of photography and the history of racial inequity in the United States and more specifically in the state of Utah. They draw a connection between the history of racism and the dialogue about race today. In a state where the black population is less than two percent and a dominant religious culture presents a unique and complicated narrative of the past and present, we can only address the current issues of systemic inequality while acknowledging and grappling with the history behind them. This project is a study about how the weight of our state's history and the lens through which it is told, affects how black individuals experience life here today. The Black Stories Project is made up of the portraits and voices of members of the black community here in Utah, and stands as an effort towards opening the conversation, understanding the past and changing the future narrative of our history.
John Haynes
John Haynes
United Kingdom
1937
I started taking photographs in1962 after being shown Henri Cartier Bresson's book (Les Européens) . Then after teaching myself photography with the aid of Andreas Feininger's book "Manual of Advanced photograhy " ( which is more about the thinking behind the photograph, than the technical) I worked for 2 years for "The Sunday Times" newspaper in London . I then started to specialise in theatre photography, taking photographs of plays using the same reportage photography I had taught myself on the streets. In house photographer for Royal Court Theatre, Hampstead Theatre London and photographed 200 plays for The National Theatre , London Exhibitions: London, New York, and Moscow National Portrait Gallery London. Samuel Beckett, Mike Leigh, and Joe Orton About Taking the Stage It may be that what really makes Haynes's photgraphs exceptional is that he has not only passively reflected a part of our theatrical tradition, but that his work has somehow contributed to it" Review by: Robert Gore Langton - Time Out About Images of Beckett "A major contribution to the way we see modernism.... the photo's show us not only what Beckett's play's looked like in original production, but also what Beckett wanted them to look like. They are the closest we can get to seeing them realized in the way he had envisaged them today" Review by: James Joyce - Literary Suppliment
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