All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
ENTER AAP MAGAZINE SHADOWS: GET PUBLISHED AND WIN $1,000 - LAST CALL
ENTER AAP MAGAZINE SHADOWS: GET PUBLISHED AND WIN $1,000 - LAST CALL
  1. Home
  2. All Photographers
  3. Rising Photographers
  4. Deba Prasad Roy
Deba Prasad Roy
Deba Prasad Roy
Deba Prasad Roy

Deba Prasad Roy

Country: India

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.

Website

dprimage.photoshelter.com

 

Inspiring Portfolios

Anna Biret
© Anna Biret
Svetlin Yosifov
© Svetlin Yosifov
Shinji Ichikawa
© Shinji Ichikawa
Call for Entries
AAP Magazine #56 Shadows
Publish your work in our printed magazine and win $1,000 cash prizes
© Lev L. Spiro
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Alfred Stieglitz
Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
Sebastian Sardi
Sebastian Sardi
Sweden
1983
Sebastian Sardi was born in 1983 in Stockholm, Sweden. At the age of 22 he started taking classes in analog photography at the Peoples University in Stockholm. In 2009 he moved to Denmark to study photography at Fatamorgana the Danish school of art and photography. In 2011 he received a Bachelor’s degree in Art History and Visual Studies. He published his first photobook “A Cirkusz” in 2012. Sebastian began his work on photographing mines in 2008 after reading an article on how mining related injuries and deaths are systematically covered up by many authorities. 2019 his second book “Black Diamond” was published on Kehrer Verlag. Today Sebastian Sardi lives and works in Malmö and Copenhagen. Black Diamond It is an apocalyptic landscape. There are huge man-made craters everywhere that make up the visible landscape, the ground is burning, and a vast area is oozing with toxic gases, fire and smoke. Amongst all of this, there are men, woman and children digging in the soil with their bare hands. Coal is mined everywhere in Jharkhand, India, and large parts of it is sorted by hand. The locals call it; Kalaheera; or ”Black Diamond”.
Energy produced by the burning of coal is the single biggest contributor to the man-generated carbon dioxide emissions on this planet. Coal is a major part in the issue of global warming. In Jharkhand many people have been forced away from their lands when companies and authorities recognised the richness that hides in the ground. Underground fires force people to relocate. The mining companies claim they are unable to put out the fires, while the locals blame the companies for letting the fires burn so the coal can be reached and excavated from underneath their villages.

 There is a fragile balance between nature and mankind. A sense of discomfort is felt in the slow but seemingly unavoidable struggle towards the collapse of nature. The human inability to break patterns is painstakingly visible in these photographs, as we knowingly keep on extracting the ground beneath our own feet. Black Diamond is a close (self-)portrait of the people who work with extracting coal from the ground to supply the ever growing demands.


Alexey Brodovitch
Alexey Brodovitch
United States
1898 | † 1971
Alexey Brodovitch was a Russian-born American designer and photographer, known for his time as the art director of Harper’s Bazaar from 1934 to 1958. Brodovitch was born in Ogolichi, Оголичи Aholičy, Russian Empire (now Belarus) to a wealthy Polish family in 1898. His father, Cheslau or Vyacheslav Brodovitch, was a respected physician, psychiatrist and huntsman. His mother was an amateur painter. During the Russo-Japanese War, his family moved to Moscow, where his father worked in a hospital for Japanese prisoners. Alexey was sent to study at the Prince Tenisheff School, a prestigious institution in Saint Petersburg, with the intentions of eventually enrolling in the Imperial Art Academy. He had no formal training in art through his childhood, but often sketched noble profiles in the audience at concerts in the city. At the start of World War I at the young age of 16, Brodovitch abandoned his dream of entering the Imperial Art Academy and ran away from home to join the Russian army. Not long after, his father had him brought home and hired a private tutor to help Alexey finish school. Upon graduating, Brodovitch ran away again on several occasions. During the Russian Civil War, Brodovitch served with the White Army. While fighting against the Bolsheviks in Odessa, he was badly wounded and was hospitalized for a time in Kislovodsk, in the Caucasus. In 1918, the town was surrounded by the Bolsheviks, forcing Brodovitch into exile. It was during this retreat to the south through Caucasus and Turkey that he met his future wife, Nina. By good fortune, Alexey's brother Nicolas turned out to be one of the soldiers guarding the refugees in Novorossiysk. Not long after, their father, who had been imprisoned in Saint Petersburg by the Bolsheviks, managed to flee to Novorossiysk in hopes of finding his family. The three were once again together, and arranged for Brodovitch's mother and other relations to join them in Constantinople. Finally reunited, the Brodovitchs made their way to France. In Paris, he lived in poverty amidst the vibrant avant-garde scene of the era, working as a backdrop painter for Serge Diaghilev’s Ballets Russes. Brodovitch embraced technical developments from the spheres of industrial design, photography, and contemporary painting. His broad curiosity began to assimilate the most interesting aspects of all these fields into his work, eventually making them his own. He later instilled this same curiosity in his students, encouraging them to use new techniques like the airbrush, industrial lacquers, flexible steel needles, and surgical knives. By the age of 32, Brodovitch had dabbled in producing posters, china, jewelry, textiles, advertisements, and paintings. Eventually specializing in advertising and graphic design, he had become one of the most respected designers of commercial art in Paris. By 1930, however, Paris had lost its luster for Brodovitch. The once-flourishing spirit of adventure and experimentation was fading away. Although he was offered many design positions, Brodovitch turned them down, presumably looking for new locales to advance his designs. Brodovitch moved to the United States, accepting a post as a professor of advertising in Philadelphia. Only four years later, he was hired as the art director of Harper's Bazaar. During his tenure there, he fundamentally changed the magazine’s aesthetic, hiring a number of unique photographers to provide editorial content, including Man Ray, Henri Cartier-Bresson, Lisette Model, and Robert Frank. Brodovitch left the magazine in 1958, but continued to teach design until his death on April 15, 1971 in Le Thor, France. Today, his works are held in the collections of the Art Institute of Chicago, Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C.Source: Wikipedia
Spiro Bolos
Spiro Bolos
United States
1967
Spiro Bolos is a Chicago-based street photographer who spends an inordinate amount of time on public transportation, especially since casting off his former minivan-centered life in suburbia. His chosen career is that of a social studies teacher and he became interested in American photography while teaching an American Studies course, first focusing on the documentary images of the Civil Rights era and then becoming preoccupied with the more artistic efforts of photographers such as Gordon Parks and William Eggleston. As a historian, he had an initial impulse to record a vision of the present era through the human characters surrounding him. But he had also seen the intriguing BBC documentary of Vivian Maier and attended a lecture by street photographer Brian Sokolowski, who demonstrated that an image of a complete stranger could function as a self-portrait. And so, with his phone ever-presently in hand, he started making photographs long before he was acquainted with Szarkowski's famous reference to "mirrors" and "windows". His subjects are usually blind to his stealthy process, perhaps because of the ubiquity of smartphones, as well as his desire to capture, as Strand put it, a "quality of being". But in a society increasingly surveilled, a moment of recognition occasionally surfaces in the subject’s eyes.
María Tuleda
María Tuleda
Spain
Nurse by profession, I discovered photography by chance a little over a decade ago and since then I have dedicated part of my free time to taking photos. Self-taught, I conceive photography as an instrument to create, tell and transmit, but above all to feel. I do not follow norms or rules, and I confess to being more interested in suggesting than in the photographic technique itself. There's something nostalgic and beautiful about decadence, and maybe that's why almost all of my shots end up having a certain decadent feel to them. I have no idea why I make the images I make, I guess we look with a camera as we are, or one day we were. My photos are simply a visual diary, they show what I see, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. When they ask me what I want to express with my photos or my way of creating them, the answer is simple: Provoke, simply provoke some sensation. A few years ago I decided to show my images on social networks, opening up a range of opportunities to disseminate my work, but if I have to choose a medium where I can express myself through photography, it is the photobook. Being able to create a visual narrative, with a set of photos between sheets of paper inside a book, has been a wonderful experience, yes, I confess, photobooks have me fascinated. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. The birds What do birds represent in artistic photography? It is a simple filler in the composition, with the purpose of making it more attractive and attracting the viewer, or for the author, it has a meaning. The answer may be a little of both. It is easy to find the presence of symbols in creative or artistic photography, including birds. Jennifer Ackerman, a bird scholar, after spending time observing them, came to the conclusion that birds remember, think, feel, give gifts and love. And they also fly, and that is what makes them so special, that is what arouses so much interest and at the same time envy: the ability to fly. The author of the wonderful novel "Rebecca", Daphne du Maurier, is also the author of the story about "The Birds" in the Alfred Hitchcock film. Horror story where roles are exchanged, giving way to the revolution of the birds, and they are the ones who keep humans locked up, imprisoned and caged in their homes. Leonardo da Vinci's obsession with understanding the flight of birds led him to make a study and treatise on flight while painting the Mona Lisa. Some of the discoveries he made anticipated the foundations of modern aeronautics. Hundreds of birds fly over the Prado Museum of various species, a recent study reveals that there are nearly 700 paintings that illustrate frozen birds through the brushes of artists such as Rubens, Hieronymus Bosch or Goya. It is evident that birds have always aroused a lot of interest throughout history, and without a doubt they have been and are sources of inspiration, not only in art. But really, in artistic photography, what do they symbolize? The Mexican photographer and lady of symbols, Graciela Iturbide, is clear: "Birds are the eyes that help me fly." She claims that she loves them and for her they represent freedom. I share Graciela's considerations about the concepts she attributes to birds for her creations. I have no idea why they are so present in my work, why I go out into the world with my camera, sometimes, even with the sole intention of looking for them and photographing them. When they ask me what I want to express with their presence, I feel perplexed for not having a clear answer. I wish I could give you an exact answer about the important message behind this work. Birds, above all for me, are symbols of vision and freedom perfectly outlined in the process of the concept of creation, and at the same time, a metaphor alluding to an infinite number of things. My photos are simply a visual diary. They show what I see or what I saw, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. For others, the presence of birds perhaps blurs the composition, or they are representations that are too disturbing or tedious, and therefore contrary to what I intend to provoke, but perhaps that disparate vision that photography provokes is not part of its magic.
Sid Avery
Sid Avery
United States
1918 | † 2002
Sid Avery (October 12, 1918 – July 1, 2002) was an American photographer and director who was best known for capturing the private moments of legendary Hollywood celebrities like Elizabeth Taylor, Rock Hudson, James Dean, Marlon Brando, Humphrey Bogart and Audrey Hepburn as showcased in his book Hollywood at Home. Avery was born in Akron, Ohio on October 12, 1918. He was only nine months old when they decided to move out to Los Angeles, California, which is where he grew up. Sid Avery received his high school education at the institution of Roosevelt High School. He discovered his love and talent of photography when he was young due to the fact that he was able to work with his uncle, Max Tatch, who was a landscape and architectural photographer. His uncle was able to teach him the skills required to use cameras, film, and darkrooms. After he graduated from high school, Sid Avery worked in a camera store on Sunset Boulevard, Hollywood where he further gained love and inspiration for photography. While working in the shop, he had opportunities to meet many famous photographers. This also encouraged him to take more photography classes. He also gained the experience of being a darkroom assistant. He served in the Army in World War II. When he returned from the war, he began his work of photographing celebrities. Sid Avery eventually became one of the top advertising photographers in Los Angeles. He was also a director of television commercials. Sid Avery was married to Diana Avery. Together they had three children named Sandra Guttman, Marc Avery, and Ron Avery. Sid Avery also had three grandchildren. He founded the Hollywood Photographer's Archive (HPA) and which is known today as mptvimages.com in an effort to preserve the work of the early Hollywood photographers. Sid Avery's work was commonly featured in publications such as Life, Look, Colliers and The Saturday Evening Post. There is a collection of his work, Hollywood at Home: A Family Album 1950-1965, that was published by Crown in the year of 1990. He is most famous for his work of photography that captured the home life of famous celebrities at the time. He captured the celebrities in their own element aside from the glamour of fame. Sid Avery died at the age of 83 on July 1, 2002, in Los Angeles, California.Source: Wikipedia One of six children, Sid Avery was born in 1918 in Ohio and moved to Los Angeles at a young age. Avery repaired a broken brownie box camera that he had found, and with the tutelage of his architectural photographer uncle he began to learn the basics of the photographic profession. By the time he entered Roosevelt High School, Avery’s talent in photography won him numerous prizes and after graduation he landed a job at Morgan’s Camera store on Sunset Boulevard. Avery was pursuing various odd photography jobs when World War II intervened. He was drafted into the Army, assigned to the Signal Corps, and selected to receive six months of training at Life magazine in New York before being sent overseas. Avery was stationed in London and was placed in charge of the Army Pictorial Service Laboratory, where all the stills and combat footage that came out of the European Theater of Operations passed through his hands. This included the detailed, highly classified photomontages of the French coast which were produced for the Normandy invasion. In order to handle this special material, Avery was granted an immediate commission by General Eisenhower himself. Photojournalism publications proliferated during the post-war years, and interest in film stars and their private lives grew to an all time high. During the 1950’s and early 1960’s, Avery photographed screen legends such as Humphrey Bogart, Lauren Bacall, Clark Gable, James Dean, Marlon Brando, James Stewart, and Alfred Hitchcock. His photographic essays appeared in the pages of The Saturday Evening Post, Look, Photoplay, Collier’s, Reader’s Digest, and many others. Avery’s characteristically low key, unobtrusive manner struck a sympathetic chord with reclusive and difficult personalities like Humphrey Bogart, who generally refused to be photographed. Bogart would eventually allow himself to be photographed by Avery with his pregnant wife Lauren Bacall and his son Stephen at their home. Sid Avery photographs have been exhibited and have been included in the permanent collections of the Museum of Modern Art in New York and San Francisco, the International Center of Photography in New York, the Smithsonian Institute in Washington, D.C., and the Los Angeles County Museum of Art in California.Source: Wikipedia
Julio Bittencourt
Julio Bittencourt
Brazil
1980
After living in New York for six years, Julio returned to Brazil in 2000 and started working at the newspaper Valor Economico in Sao Paulo as a photographer and assistant photo editor. In 2003 he moved to Mozambique where he worked for SOICO Communication Group. Since 2006 Julio has been working as an independent photographer. Julio's projects have been exhibited in galleries and museums worldwide and his work published in magazines such as GEO, Stern, TIME, Le Monde, The Wall Street Journal, C Photo, The Guardian, The New Yorker, Esquire, French Photo, Los Angeles Times, and Leica World Magazine, among others. In 2008 he published his first book, “In a window of Prestes Maia 911 Building”, the culmination of a three year project featuring the residents of a squatted building in Sao Paulo. Julio's work resides in several public and private collections.
Manuel Álvarez Bravo
Manuel Álvarez Bravo
Mexico
1902 | † 2002
Manuel Álvarez Bravo was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s and 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or Surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. He had numerous exhibitions of his work, worked in the Mexican cinema and established Fondo Editorial de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970. His work was recognized by the UNESCO Memory of the World registry in 2017.Source: Wikipedia Manuel Álvarez Bravo, one of the founders of modern photography, is considered the main representative of Latin American photography in the 20th century. His work extends from the late 1920s to the 1990s. Alvarez Bravo was born in downtown Mexico City on February 4, 1902. He left school at the age of twelve in order to begin making a contribution to his family's finances after his father's death. He worked at a textile factory for a time, and later at the National General Treasury. Both his grandfather (a painter) and his father were amateur photographers. His early discovery of the camera awakened in him an interest that he would continue to cultivate throughout his life. As a self-taught photographer, he would explore many different techniques, as well as graphic art. Influenced by his study of painting at the Academy of San Carlos, he embraced pictorialism at first. Then, with the discovery of cubism and all the possibilities offered by abstraction, he began to explore modern aesthetics. He had his initiation into documentary photography in 1930: when she was deported from Mexico, Tina Modotti left him her job at the magazine Mexican Folkways. He also worked for the muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Álvarez Bravo is an emblematic figure from the period following the Mexican Revolution often called the Mexican Renaissance. It was a time of a creative fertility, owing to the happy though not always tranquil marriage between a desire for modernization and the search for an identity with Mexican roots, in which archaeology, history and ethnology played an important role, parallel to the arts. Alvarez Bravo embodied both tendencies in the field of visual arts. Between 1943 and 1959, he worked in the film industry doing still shots, which inspired him to realize some of his own experiments with cinema. While Manuel Álvarez Bravo was alive, he held over 150 individual exhibitions and participated in over 200 collective exhibitions. According to several critics, the work of this "poet of the lens" expresses the essence of Mexico. However, the humanist regard reflected in his work, the aesthetic, literary and musical references it contains, likewise endow with a truly universal dimension. He died on October 19, 2002, at the age of one hundred.Source: www.manuelalvarezbravo.org Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston. In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.Source: Museum of Modern Art
Denis Olivier
Denis Olivier
France
1969
My first encounter with photography took place when my parents performed some strange static dances with an object in front of their face. Later they would close themselves up in a special room under the house for long periods of time, and no one was allowed in. They diligently made sure that they were left to their own devices while inside. One day I was given permission to enter the room and allowed to stay, but on the condition that I didn't move or went out. I remember there was a unique chemical perfume and a red light. I was bewildered: my parents appeared flashing a white light on a piece of paper using a strange apparatus. Then they dipped it into a clear liquid and Behold! I couldn't believe it, A miracle! They were wizards who created pictures. In the following years I didn't really follow his experiments, I was too young to manipulate cameras and I preferred to draw. Photography, Architecture and Art was always present around us and I still remember the black and white exhibitions that we visited. When I was a teenager, I continued to draw and started to paint a little. I even took part in some local exhibitions. At the age of 17 I began to take some photographs, I was especially fascinated by mineralogical micro mounts. I started studying biochemistry, but after 3 years I changed to Poitiers school of fine-arts, and took an interest in computer graphics and generated imagery. While I was there I meet Alain Fleig who introduced me to art photography. I also felt a need to practice photography, and with a friend we spent a lot of time learning how to develop films and photographs. We did sessions with models, scenery, and discovered France. The second year I had my first personal exhibition in a gallery, which was a great experience, then a training placement with Philippe Salaün, who was at this time Robert Doisneau's developer. Following this I did some jobs for organizations, shows and commissioned works. I then started in December 1995 working with computer graphics and made use of the Internet. I worked in artistic direction for several years, then digital cameras came along and I found a way to work quickly and experiment without using too many resources such as film, chemicals, photo sensitive paper and of course the wonderful resource of water.
Advertisement
AAP Magazine #56 Shadows
Win a Solo Exhibition in May
AAP Magazine #56 Shadows

Latest Interviews

Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Read the full interview
Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Read the full interview
Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Read the full interview
Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Read the full interview
Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Read the full interview
Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Read the full interview
Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Read the full interview
Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Read the full interview
Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
Read the full interview
Call for Entries
Solo Exhibition May 2026
Get International Exposure and Connect with Industry Insiders
© Margarita Mavromichalis
Explore All About Photo
All About Photo
About Us
Contact Us
Link Back
Press
Blog
Newsletter
Terms of Use
Privacy Policy
Competitions
All About Photo Competitions
Our Jurors
All Photo Contests
Open Photo Contests
Amateur Photo Contests
Professional Photo Contests
Portfolio Reviews
Photo Competition News
Artists
Photographers A-Z
Masters of Photography
Modern Photographers
Rising Photographers
Articles
Interviews
Inspirational
Photography Exhibitions
Photography Festivals
Photo Fairs
Photo Museums
Galleries & Centers
Photographer Monographs
Technique Books
History of Photography
Miscellaneous
Paper Magazines
Online Magazines
Resources
Schools and Classes
Photography Agencies
Equipment Rentals
Studio Rentals
Photo Labs
Camera Repairs
Framing Stores
Photo Tips & Tools
Photo Gear
© 2026 © All-About-Photo.com, All Rights Reserved  •  Photographs © the Respective Artists, All Rights Reserved.