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Giandomenico Veneziani
Giandomenico Veneziani
Giandomenico Veneziani

Giandomenico Veneziani

Country: Italy
Birth: 1986

My name is Giandomenico Veneziani. I am an Italian photographer. I approached photography from a young age. I have learned over time the techniques and the infinite possibilities of artistic creation. Photographic experimentation finds ample expression during my travels. I was inspired by people, their stories, faces, emotions. Photography for me is an important means of sharing feelings and stories of the people I photograph. I take inspiration mainly from painting, books and films. I also studied the most important photographers who made the history of photography. I really like portraits and fashion photography. I try to make unique and unconventional shots giving my portraits a cinematic vision.

Bringing my point of view to the public eye is my main goal. Getting someone into my inner world is something extraordinary just as photography is extraordinary. In every shot there is my person, my fragility, my emotions. I love photographing people and interacting with them drawing their essence through the photographic medium. My greatest gratification is being told "I feel beautiful because I am just like that". These shots represent me and also the photographed subject. Portrait photography is the testimony of an encounter, in fact the photographer's task is to guide the person so that she is able to bring out herself. Establishing a relationship of trust between the artist and the photographed subject leads to the creation of a connection that enriches both, since in the realization of a photographic project the fundamental element is to create a path whose journey is carried out side by side between photographer and model. I really like using artificial lights to create the right atmosphere. I take great pleasure in presenting my projects that deviate from a usual reality, which everyone sees. Sometimes it is very distorted, I represent parallel and imaginary visions and worlds belonging to a dystopian future. I like it for this because it is different and the different is beautiful because it is unique.

Websites

jeanven.com

@jeanven.official

 

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Pieter Hugo
Pieter Hugo
South Africa
1976
Pieter Hugo was born 1976 and grew up in Cape Town, South Africa. He is a South African photographer who primarily works in portraiture and whose work engages with both documentary and art traditions with a focus on African communities. Hugo is self-taught, having picked up a camera aged 10. He remembers the first image he printed, which was a homeless person in Johannes. After working in the film industry in Cape Town, Pieter Hugo spent a two-year Residency at Fabrica, Treviso, Italy. Hugo has called himself a political-with-a-small-p photographer... it's hard not to be as soon as you pick up a camera in South Africa'. He believes that "the power of photography is inherently voyeuristic but I want that desire to look to be confronted." He also states that he is "deeply suspicious of the power of photography." Early on in his career he noticed that, "he often found himself being critically scrutinized by the subject he was photographing. It was then that he decided to switch to a larger and more cumbersome format of photography, one that would require negotiating consent and dialogue with the person being photographed - a more sedate and contemplative approach." He is known to use a Hasselblad camera and regularly shoots in the 4x5 format. His influences range from South African photojournalist David Goldblatt to Boris Mikhailov. However, his work reacts against 'the culture of realism that defined South African photography in the struggle years.' Hugo's first major photo collection Looking Aside consisted of a collection of portraits of people "whose appearance makes us look aside", his subjects including the blind, people with albinism, the aged, his family and himself. Explaining his interest in the marginal he has said, "My homeland is Africa, but I'm white. I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." This was followed by Rwanda 2004: Vestiges of a Genocide which the Rwanda Genocide Institute describes as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered." His most recognized work is the series called The Hyena & Other Men and which was published as a monograph. It has received a great deal of attention. Hugo won first prize in the Portraits section of the World Press Photo 2005 for a portrait of a man with a hyena. In 2007, Hugo received the Standard Bank Young Artist Award 07. Hugo was also working on a series of photographs called Messina/Mussina that were taken in the town of Musina on the border between Zimbabwe and South Africa and which was published as a monograph. At the time Colors magazine asked Hugo to work on an AIDS story and he was fascinated by the marginal aspect of the town. This was followed by a return to Nigeria with Nollywood, which consists of pictures of the Nigerian film industry. Permanent Error followed in 2011 where Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. Sean O'Toole writes "if Nollywood was playfully over-the-top, a smart riposte to accusations of freakishness and racism leveled at his photography..., Permanent Error marks Hugo’s return to a less self-reflexive mode of practice." In 2011 Hugo collaborated with Michel Cleary and co-directed the video of South African producer/DJ Spoek Mathambo's cover version of Joy Division's She's Lost Control, the fourth single from his album Mshini Wam. Commissioned by Italian luxury label Bottega Veneta, Hugo photographed models Amanda Murphy and Mark Cox for the brand’s spring/summer 2014 campaign, with the images shot in a wood in New Jersey. In the Spring of 2014, Hugo was commissioned by Creative Court to go to Rwanda and capture stories of forgiveness as a part of Creative Court's project Rwanda 20 Years: Portraits of Forgiveness. The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition Post-Conflict which was curated by Bradley McCallum, Artist in Residence for the Coalition for the International Criminal Court. Flat Noodle Soup (2016) chronicles Hugo's lengthy engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and transnational. La Cucaracha is a 2019 body of work made during four trips to Mexico over a two-year period. The photographic series explores Hugo's perception of the flamboyant and violent environment of Mexico with overt art historical references to the nation's visual canon of pre-colonial customs and revolutionary ideology.Source: Wikipedia Between 2006 and 2013, Pieter Hugo worked on a project that he called Kin. This deals with home, proximity, identification and a sense of belonging – something that, in South Africa, he has always experienced as being critical and riddled with conflict: How can one live in this country, which only shed its colonial heritage relatively recently, and which is plagued by racism and a growing chasm between rich and poor? Hugo shot photos at home, in townships and at historical sites, taking portraits of his pregnant wife, of domestic servants and of homeless people. The calm and clearly composed shots show beauty and ugliness, wealth and poverty, private and public, historical and topical. Without either idealising or dramatizing the subject matter, they paint a portrait of the complex society in South Africa today. This is because any notion of harmony in the “Rainbow Nation” is wishful thinking. Even twenty years after the end of apartheid, black and white South Africans are still very much divided. In the series of 94 platinum prints There Is A Place in Hell for Me and My Friends (2011-2012), Pieter Hugo explores the supposed differences between skin colours. To do so, he took portraits of himself and South African friends. The close-ups, generally in the form of frontal head and shoulder portraits, were digitally processed afterwards. The image manipulation, whereby the colour channels were translated into grey tones, emphasise the pigmentation of the skin, using UV irradiation to render visible skin damage and small blood vessels directly beneath the skin. The results are quite astounding: on these photographs, all people are coloured. There is no longer a difference between “white” and “black” skin, but rather a variety of individual shades. The portraits show the powerful presence of each individual and, at the same time, the fragility of all people and the softness and utter vulnerability of their outer shell. With his various photo series, Pieter Hugo has put together an impressive body of work in the space of just a few years. Through this intense perception of corporeality, he captures the complexity and inconsistency of society. Constants in his work include seriousness, neutrality and an underlying respect for his protagonists, whose dignity always remains intact. In this regard, his works are comparable with the monumental portrait works of August Sanders, who created a contemporary picture of the Weimar Republic with his large-scale cycle “Menschen des 20. Jahrhunderts” (People of the 20th Century).Source: Priska Pasquer
Sam Heydt
Sam Heydt
United States
1986
Sam Heydt (born April 20, 1986) is an American social practice and recycled media artist born/raised in New York City. She has lived/worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Reykjavík, Udaipur and Vienna [current]. As a published author, producer and lifelong social activist and environmentalist, Heydt has undertaken a range of altruistic, non­-profit work and anchors her practice in advocacy. Through her unique manner of expression, she illustrates a world exploited beyond use and increasingly reduced to a bottom line. Esteemed as one of the pioneers of the recycled media movement, she works across different media- film, video, installation, photography, sculpture, sound and text and employs a range of materials, often reinventing and trespassing their associative use. Marrying images of destruction with portrayals of the American Dream, her work confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. Heydt's work has been shown in galleries, museums, art fairs and film festivals worldwide. Statement The edge is closer than we think, but illusion won't free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the natural world is liquidated and substituted with an artificial one, public discourse is being defined by even narrower bandwidths Our time is marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The skeletons of old factories serve as caveats for a world exploited beyond use, a world increasingly reduced to a bottom line. Dissidence is drowned out by the white noise of the media, which holds the social psyche captive in with the empty promises it proposes for the future it truncates. Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Conflating time and place, her layered imagery collides, merges and disrupts logical relationships between occurrences. Through adding and subtracting meaning by combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.
Reza
Reza
Iran/France
1952
A philanthropist, idealist, humanist, Reza's career began with studies in architecture. He has gone on to become a renowned photojournalist who, for the last three decades, has worked all over the world, notably for National Geographic. His assignments have taken him to over a hundred countries as a witness to humanity's conflicts and catastrophes. His work is featured in the international media (National Geographic, Time Magazine, Stern, Newsweek, El País, Paris Match, Geo...), as well as a series of books, exhibitions and documentaries made for the National Geographic Channel. Along with his work as a photographer, since 1983 Reza has been a volunteer committed to the training of youths and women from conflict-ridden societies in the language of images, to help them strive for a better world. In 2001, he founded Ainaworld in Afghanistan, a new generation NGO which trains populations in information and communications through the development of educational tools and adapted media. While pursuing his reportages for international media outlets, Reza has continued to conduct workshops on the language of images in a variety through his association Reza Visual Academy. He works with refugees, urban youths in Europe and others from disadvantaged backgrounds. After his work, Mémoires d'Exil ("Memories of Exile") shown at the Louvre Carrousel in 1998, he has shared his humanitarian vision through a series of monumental installations: Crossing Destinies, shown on the grilles of the Luxembourg Gardens in Paris, One World, One Tribe in Washington DC, and the Parc de la Villette in Paris, War + Peace at the Caen Memorial and on the banks of the Garonne in Toulouse, Hope in Doha (Qatar), Windows of the Soul in Corsica, Soul of Coffee, 250 photographic exhibitions throughout the world, including major installations on the banks of the Seine, or at Kew Gardens in London, Land of Tolerance at the UN Headquarters in New York, the European Parliament in Brussels, as well as UNESCO in Paris. In 2014, Azerbaijan: the Elegance of Fire, presented at the Petit Palais revealed a little-known people with an ancestral culture, turned towards modernity. Finally, the giant panorama A Dream of Humanity was featured along the banks of the Seine during the summer of 2015, showing portraits of refugees around the world taken by Reza and photographs taken by refugee children in Iraqi Kurdestan who were trained as "camp reporters" at the workshops organized by Reza Visual Academy. Author of thirty books, and a recipient of many awards over the course of his career, Reza is a Fellow and Explorer of the National Geographic Society, and a Senior Fellow of the Ashoka Foundation. His work has been recognized by World Press Photo; he has also received the Infinity Award from the International Center of Photography, the Lucy Award, an honorary medal from the University of Missouri and the honorary degree of Doctor Honoris Causa from the American University of Paris. France has also appointed him a Chevalier of the National Order of Merit.
Wiktor Franko
Wiktor Franko
Poland
1983
Wiktor Franko, born in Kielce in 1983. He completed Polish Language Studies at the Swietokrzyska Academy, then got involved in photography and he has ever since been preoccupied with it. He deals with both fine art and commercial photography. His photographs have been published in a number of professional magazines, such as Prism Magazine, Camerapixo, Pokochaj Fotografie, Fabrikon Magazine, Musli Magazine, Confashion and a Chinese Prime Magazine. He exhibited his works at a few collective and individual exhibitions, and his photographs were awarded in a variety of photo contests - he was twice awarded in a prestigious Viva Photo Awards and two local contests Zycie Jest Piekne and Kielce Inaczej (he was a jury member with Pawel Pierscinski in the last two editions of Kielce Inaczej contest). Wiktor Franko was a collaborator of Charaktery magazine, and a number of his images were placed on the cover of that magazine. His photographs can also be found on book covers. On two occasions, he took photographs of famous people from the world of business, culture and politics, including a portrait photo depicting Malgorzata Tusk, Prime Minister's wife for Philanthropist's Calendar, a publication that is of importance for the region. Wiktor Franco is the author of three posters for The Off Fashion, a European contest for fashion designers that is held in Kielce. Initially, Wiktor's development as a photographer ran parallel to his stay in London, where he shot photos of jazz and rock music stars, including Marillion, King Crimson, Porcupine Tree, Archive, Chic Corea, Jan Garbarek. Currently, Wiktor is engaged in making music albums covers of Polish artists, including Strefa Ciszy, Lebowski. In his photographs, Wiktor Franko frequently uses literary motifs and allusions (a cycle devoted to Milan Kundera's novels). His works, strongly influenced by surrealism, are often defined as painterly. As he himself says, what is most important for him in photography is the atmosphere, a particular mood and surprise.Source: Galeria Winda
Dana Stirling
Dana Stirling
Israel
1989
Dana Stirling is a fine art photographer and the Co-Founder & Editor of Float Photo Magazine since 2014. She is currently based in Queens, New York. She earned her MFA in Photography, Video, and Related Media from The School Of Visual Arts in 2016, following her earlier BA in Photographic Communications from Hadassah College Jerusalem. Dana Stirling's work has been prominently featured in group exhibitions in the United States and internationally, including reputable venues such as Panop-ticon Gallery and Saatchi Gallery. Her photography has gained recognition in various publications, including Buzzfeed, Feature Shoot, Der Grief Magazine and others. why am i sad In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness - using the camera to explore the essence of who I am and my connection to the art of photography. My roots lie in a small town. Within this space, I grappled with a pervasive sense of loneliness that transcended both the physical boundaries and the emotional confines of my surroundings. Even in the company of others, I felt a profound solitude that echoed within and beyond those walls. Home, rather than a sanctuary, was a place where the weight of stress, anxiety, and extensive sadness loomed. Family, instead of offering solace, became a source of inner turmoil. Unspoken but deeply felt, my mother's battle with clinical depression cast a shadow over me. I saw her lose more and more of herself, becoming less and less a person I understood. In my youth, I perceived her sadness as a natural extension of my own sadness, failing to grasp the impact it would have on my journey toward understanding and confronting my own struggles with depression as I grow older. Photography emerged as my lifeline during these moments of isolation. Equipped with my camera, I found solace in the quietude of my room, capturing the silent narratives of everyday objects that became vessels for the unspoken language of my inner dialogue. Photography, in essence, became my personal code, a means of externalizing the words I couldn't articulate verbally. In the silent dialogue with still life, I discovered a form of communication that transcended the limitations of human interaction. Objects, devoid of judgment, spoke the untold stories, becoming my voice in a world where words often fell short. Despite physically distancing myself from the room that once encapsulated my struggles, the weight of sadness remains a constant companion. Photography, once a means of escape, has transformed into a burden, shaping both my emotional state and the aesthetic of my images. The absence of photography leaves me despondent, while the act of capturing images reflects the pervasive cloud of sadness that hovers above me. 'Why Am I Sad' stands as a pivotal exploration, a journey into the intricate relationship between myself and the art of photography, viewed through the lens of my camera. It is an open-ended question, not posed with the expectation of a definitive answer, but rather as a beacon of hope—an invitation to rediscover comfort within the very medium that has been both a refuge and a challenge. My work is an exploration of the interplay between personal struggles and the transformative power of artistic expression. Through the lens, I invite viewers to join me in questioning, in reflecting, and in the shared pursuit of finding solace and meaning within the complex tapestry of existence.
Eleni Mahera
Eleni Mahera
Greece
1974
"I was born and raised in Agios Lavrentios, a small village on Mt Pelion, Greece. I have a Bachelor in English Language and Literature and a Master in Interdisciplinary Approach to Teaching Foreign Languages. I live in Komotini, a small provincial town in northern Greece and I am currently involved with Adult Education. My first contact with photography came in 2009 through a course offered by a local photography club. What actually gave me a new insight not only into photography but in life altogether was the sudden loss of a beloved person: my mother. In my attempt to redefine myself, photography came as a real blessing, an outlet for my pent-up emotions. My 'project' is to make the most of this therapeutical effect photography has on me and transform my inner world into images."
Sayaka Maruyama
Sayaka Maruyama
Japan
1983
Sayaka Maruyama's practice traverses the mediums of photography, film, drawings, installation and performance. Drawing on classical Japanese references and Surrealist motifs, her work explores contradictory contemporary understandings of Japanese notions of beauty, from both Western and Eastern perspectives. Maruyama primarily gained notoriety for her Japan Avant-Garde series, in which the artist intertwined digitally manipulated images with elements of paper collage and watercolour paint to create intricate, multi-layered imagery, extolling a sense of beauty. Maruyama was born in Japan in 1983, and graduated from the Art University of Japan in 2005, when she began her renowned Neon O'Clock Works project. Her first monograph, entitled Krageneidechse, was published in 2007, the year she moved to London. Maruyama has exhibited widely in London and Tokyo, and her images have been published in periodicals including The British Journal of Photography, Silvershotz magazine, the Financial Times Magazine and Eyemazing.
Brad Jones
Brad Jones
United States
1973
I was born in Springfield, Missouri, and raised in the suburbs of Memphis, TN where I studied illustration and photography. I earned my degree in photography in Memphis and have been a photographer for almost 20 years. In 2018, I began documenting my everyday life here in New York. This became the project A Fragile Utopia. I reside in Brooklyn with my wife and young son. About A Fragile Utopia Series I began A Fragile Utopia with the belief that I was creating a project where I would document my daily life in Brooklyn. Understanding at the time that this city was a refuge for me culturally and politically as I grew up in a rural small town. I've come to realize more and more that A Fragile Utopia is a construction of a world that I want to see in my mind. Using the common spaces that I share with my fellow New Yorkers.
Joe Goldberg
Joe Goldberg
United States
2001
Joe Goldberg (born in Washington, DC, 2001) is an award-winning photographer. Goldberg first picked up a camera at twelve. He believes the greatest moment is around the corner and that search is what makes life so beautiful. His work has earned recognition including Best Photo in the Framing the Monument competition at The Foundry Gallery, Best Portrait at the DC State Fair, and Photographer of the Week on All About Photo. His work has been featured in outlets ranging from PBS Newshour to Outside Magazine to Playboy. His photograph from the Women's March was selected for the official poster, and his work has been exhibited at BRIC Studios in Brooklyn, The Foundry Gallery in Washington, DC, and Van Der Plas Gallery in New York City. He has worked with numerous musicians including serving as official tour photographer of rapper Lil Xan on the Xanarchy 2019 US tour. Joe's sense of adventure has taken him to remote destinations throughout the world, connecting him with people and places that have expanded his curiosity beyond anything he could imagine. Goldberg currently lives in Washington, DC, and continues to travel widely in search of that next great moment. Awarded Photographer of the Week - Week 48, 2025
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