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Danièle Michel
Danièle Michel
Danièle Michel

Danièle Michel

Country: France/Scotland
Birth: 1979

I am French-Scottish born in 1979 in Annemasse,France,a small town between Geneva and Chamonix .For as long as I remember I always had a camera around to document my life.

I am passionate about family photography, the mundane and the little things.My photography is emotive, mostly in natural light. I love portraiture and currently I am working on analog double exposure.

Website

@daniele_michel_

 

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Herbert List
Herbert List
Germany
1903 | † 1975
Herbert List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was born on 7 October 1903 to a prosperous business family in Hamburg, the son of Luise and Felix List. He attended the Johanneum Gymnasium, and afterwards studied literature 1921–23 at the University of Heidelberg. While still a student he became apprenticed in the family company, Landfried Coffee. In 1923, after two years in Heidelberg learning about the coffee trade and attending lectures at the university on Greek art and literature, List traveled for the family business Kaffee-Import Firma List & Heineken, Hamburg. Between 1925 and 1928 he visited plantations and contacts in Guatemala, Costa Rica, San Salvador, Brazil (where he stayed for six months) and San Francisco. During this time he began taking photographs. In 1929 he met Andreas Feininger who inspired his greater interest in photography and gave him a Rolleiflex camera. From 1930 he began taking portraits of friends and shooting still life; was influenced by the Bauhaus and artists of the surrealist movements, Man Ray, Giorgio De Chirico and Max Ernst; and created a surrealist photograph titled Metaphysique in a style he called fotografia metafisica in homage to De Chirico, his most important influence during this period. List used male models, draped fabric, masks and double-exposures to depict dream states and fantastic imagery. He has explained that his photos were "composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances." While there are surface similarities to Nazi imagery of the athletic male body—that of Leni Riefenstahl for example—unlike them, List's pictures of friends are portraits as much as they are nudes, nor did List endorse Nazi ideas, nor did his work influence National Socialist photography. He never published his male nudes in his own lifetime, and kept them hidden in his mother's house in a sack he called his poison bag". He was however influenced in his depiction of romantic paganism by the Jugendbewegung youth and physical health movement, though he did not join any of its associations, and some of the ideals of the Jugendbewegung were co-opted by the Nazis (though they later denounced the movement) and influenced their idealizing Romantic realism. List in his own notes uses a pun—"Das Objektiv ist nicht objectiv,"—to emphasize his creative, non-realist, application of photography. The lens is not objective. Otherwise photography would be useless as an artistic medium. -- Herbert List In 1936, in response to the danger of Gestapo attention to his openly gay lifestyle and his Jewish heritage, List left Germany for Paris, where he met George Hoyningen-Huene with whom he travelled to Greece, deciding then to become a photographer. In 1937 he worked in a studio in London and held his first one-man show at Galerie du Chasseur d'Images in Paris. Hoyningen-Huene referred him to Harper's Bazaar magazine, and 1936–39 he worked for Arts et Metiers Graphiques, Verve, Vogue, Photographie, and Life. List was unsatisfied with fashion photography. He turned back to still-life imagery, continuing in his fotografia metafisica style. From 1937 to 1939 List traveled in Greece and took photographs of ancient temples, ruins, sculptures, and the landscape for his book Licht über Hellas. In the meantime he supported himself with work for magazines Neue Linie, Die Dame and for the press from 1940 to 1943, and with portraits which he continued to make until 1950. In List's work the revolutionary tactics of surrealist art and a metaphysical staging of irony and reverie had been honed in on the fashion industry that relied on illusion and spectacle which after World War II returned to a classical fixation on ruins, broken male statuary and antiquity. In 1941, during World War II, he was forced to return to Germany; but because one of his grandparents was Jewish he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being of partly Jewish ancestry. He served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Bérard, Georges Braque, Jean Arp, Joan Miró, and others. After the war, he photographed the ruins of Munich where he continued to live until 1960, working mainly for the Swiss magazine Du, with freelance photo essays for Heute, Epoca, Look, Harper's Bazaar, Flair, and Picture Post. He was made art editor of Heute magazine, published by the Allied occupying forces, in 1948. In 1951, List met Robert Capa, who invited him to work as a contributor to Magnum, but he rarely accepted assignments. For the next decade he produced copious work in Italy. During this time he also started using a 35 mm film camera and a telephoto lens. He was influenced by his Magnum colleague Henri Cartier-Bresson as well as the Italian neorealist film movement. In the 1950s he also shot portraits of Marino Marini, Paul Bowles, W. H. Auden, and Marlene Dietrich in 1960. Over the period 1949–62 he visited Italy, Greece, Spain, France, Mexico, and the Caribbean. List's 1950 picture of a woman, her black dress spread about her, reclining at a respectable distance from an elderly man reading, with one leg of his trousers rolled above his socks and garter, both enjoying the spring sunshine on the front steps of the Glyptothek in Munich, was selected by curator Edward Steichen for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors. In 1964 List was awarded the David Octavius Hill Prize of the Gesellschaft Deutscher Lichtbildner. Herbert List is best known for his book Junge Männer (1988) which contains more than seventy images of young men lounging in the sun, wrestling and innocently regarding the camera lens. It is introduced by Stephen Spender in whose autobiographical novel The Temple, written in 1929 but not published until 1988, List is fictionalized as Joachim Lenz. List gave up photography in the early 1960s to concentrate on his collection of Italian Old Master Drawings. He died in Munich on 4 April 1975, and his archive was absorbed in the Ratjen collection which was later acquired by the National Gallery of Art in Washington.Source: Wikipedia
Lisa Tichané
Lisa Tichané
France
1976
Lisa Tichané is a commercial photographer specialized in kids & babies. She has a true passion for children and loves documenting the energy and playfulness of childhood. Based in France but travelling internationally for commissioned work, she is well known for her unique ability to connect with her tiny models and get irresistible images even from the most unpredictable, unwilling subjects. She thrives to capture real life, true joy and wild carefree moments. She is a published author and her work has been featured in many international books and magazines. Her images can be found in advertising campaigns for international brands such as Colgate, MAM Baby, Procter & Gamble, Enfamil, Danone Cow & Gate or Stanhome. In addition to shooting international advertisements for major brands, she has been hired by the world's leading publishers to write books on children photography, as well as teach her tricks and tools of the trade to hundreds of other photographers.
Benoit Segalen
Benoit Segalen
France
1974
As a French amateur photographer, I've had a camera since I was 8 years old. However, it was only in 2011, when my work involved frequent travel, that I began capturing moments from around the world, especially in the streets. I am self-taught, learning through books and studying the works of renowned photographers. My passion lies in immortalizing human behaviors in their environments. I am always on the lookout for the decisive moment, patiently waiting to capture the photo that will endure.
Rafał Milach
Rafał Milach
Poland
1978
Rafał Milach is a Polish visual artist and photographer. His work is about the transformation taking place in the former Eastern Bloc, for which he undertakes long-term projects. He is an associate member of Magnum Photos. Milach's books include 7 Rooms (2011), In the Car with R (2012), Black Sea of Concrete (2013), The Winners (2014) and The First March of Gentlemen (2017). He is a co-founder of the Sputnik Photos collective. He won a 2008 World Press Photo award. 7 Rooms won the Pictures of the Year International Best Photography Book Award in 2011. In 2017 his exhibition Refusal was a finalist for the Deutsche Börse Photography Prize. Milach was born in 1978 in Gliwice, Poland. He graduated from the Academy of Fine Arts in Katowice in 2003 and the Institute of Creative Photography (ITF), Silesian University in Opava, Czech Republic. With ten other Central Eastern European photographers, he co-founded Sputnik Photos, a collective documenting transition in post-Soviet states. For his first book, 7 Rooms (2011), Milach accompanied and photographed seven young people for several years living in the Russian cities of Moscow, Yekaterinburg and Krasnoyarsk. In the Car with R (2012) was made on a 10-day road trip, driving 1450 kilometers around Iceland's circular Route 1. Milach made photographs and his local guide, the writer Huldar Breiðfjörð [de], made diary entries. Black Sea of Concrete (2013) is about the Ukrainian Black Sea coast, about its people, of whom he made portraits, and the abundant Soviet-era geometric blocks strewn along the coastline. Milach spent two years in Belarus from 2011 exploring its dire economic and political situation. Belarus is "a country caught between the ultra-traditional values of an older Soviet era and the viral influence of western popular culture." Milach was interested in the clean, tidy glamorous facade maintained by the state. His book The Winners (2014), portraits of winners of various "Best of Belarus" state and local contests promoted by the government, is a typology of state propaganda. It depicts mostly people, but also anonymous interiors that had won awards. The obscure official prizes are intended to foster national pride but to an outside audience might appear tragicomic. Milach travelled around the country working in the role of "an old-fashioned propaganda photographer". He was guided by the authorities as to who, where and how to photograph, a process which only improved his revealing the ideology of the state. Milach has said "the winners are everywhere, but the winnings are not for the winners – they are for the system", "the state is not interested in individuals, only in mass control." The First March of Gentlemen (2017) was made on a 2016 residency at Kolekcja Września to make work about life in Września. The town is synonymous with the Września children strike, the protests of Polish children and their parents against Germanization that occurred between 1901 and 1904. In 2016, there were many demonstrations by Citizens of Poland, a civic movement engaged in pro-democracy and anti-fascist actions, opposed to the political changes brought about by the government led by the Law and Justice (PiS) party. Milach's book of collages mixes illustrations of the children's strike with characters that lived in Września during the communist era in the 1950s and 1960s taken by local amateur photographer Ryszard Szczepaniak. This "delineates a fictitious narrative that can be read as a metaphor, commenting on the social and political tensions of the present day." Milach is an associate member of Magnum Photos. He is married to Ania Nałęcka-Milach and is currently based in Warsaw.Source: Wikipedia Rafał Milach was born in 1978 in Gliwice and is currently based in Warsaw. He graduated in graphic design from the Academy of Fine Arts in Katowice, as well as studies at the Institute of Creative Photography of the Silesian University in Opava, Czech Republic, where he’s offering lectures. He’s also a professor at the Krzysztof Kieślowski Film School in Katowice Poland. In 2008, he received first prize in the Grand Press Photo competition and in 2011 he received an honorable mention in the Magnum Expression Award Competition. In 2008 he received first prize in the Grand Press Photo competition and in 2011 he received an honorable mention in the Magnum Expression Award Competition. In 2013 he was among the 10 laureates of Magnum’s 2013 Emergency Fund grants, which allowed him to continue his Winners project, set in Belarus and giving viewers an intimate look at the "last dictatorship in Europe." At the 2012 edition of the Month of Photography in Bratislava Milach’s 7 Rooms were announced the best contemporary books in the CEE Region this year, along with two other albums published by Sputnik Photos – Stand By and Distant Place. About his style of photography, he says the key to his craft is filtering his subject through his own consciousness to find a novel, distinctive perspective on an object or issue, even if it has been portrayed by dozens of photographers. "It’s about finding something interesting for us", he told, "something we want to speak about. I believe there are no bad subjects, there are only bad productions."Source: Culture.pl
Frances Benjamin Johnston
Frances Benjamin Johnston
United States
1864 | † 1952
Frances "Fannie" Benjamin Johnston (15 January 1864 – 16 May 1952) was an early American female photographer and photojournalist whose career lasted for almost half a century. She is most known for her portraits, images of southern architecture, and various photographic series featuring African Americans and Native Americans at the turn of the 20th century. The only surviving child of wealthy and well connected parents, she was born in Grafton, West Virginia, raised in Washington, D.C., and studied at the Académie Julian in Paris and the Washington Students League following her graduation from Notre Dame of Maryland Collegiate Institute for Young Ladies in 1883 (now known as Notre Dame of Maryland University). An independent and strong-willed young woman, she wrote articles for periodicals before finding her creative outlet through photography after she was given her first camera by George Eastman, a close friend of the family, and inventor of the new, lighter, Eastman Kodak cameras. She received training in photography and dark-room techniques from Thomas Smillie, director of photography at the Smithsonian. She took portraits of friends, family and local figures before working as a freelance photographer and touring Europe in the 1890s, using her connection to Smillie to visit prominent photographers and gather items for the museum's collections. She gained further practical experience in her craft by working for the newly formed Eastman Kodak company in Washington, D.C., forwarding film for development and advising customers when cameras needed repairs. In 1894 she opened her own photographic studio in Washington, D.C., on V Street between 13th and 14th Streets, and at the time was the only woman photographer in the city. She took portraits of many famous contemporaries including Susan B. Anthony, Mark Twain and Booker T. Washington. Well connected among elite society, she was commissioned by magazines to do "celebrity" portraits, such as Alice Roosevelt's wedding portrait, and was dubbed the "Photographer to the American court." She photographed Admiral Dewey on the deck of the USS Olympia,[6] the Roosevelt children playing with their pet pony at the White House and the gardens of Edith Wharton's famous villa near Paris. Her mother, Frances Antoinette Johnston, had been a congressional journalist and dramatic critic for the Baltimore Sun and her daughter built on her familiarity with the Washington political scene by becoming official White House photographer for the Harrison, Cleveland, McKinley, "TR" Roosevelt, and Taft presidential administrations. Johnston also photographed the famous American heiress and literary salon socialite Natalie Barney in Paris but perhaps her most famous work, shown here, is her self-portrait of the liberated "New Woman", petticoats showing and beer stein in hand. Johnston was a constant advocate for the role of women in the burgeoning art of photography. The Ladies' Home Journal published Johnston's article "What a Woman Can Do With a Camera" in 1897[9] and she co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC. She traveled widely in her thirties, taking a wide range of documentary and artistic photographs of coal miners, iron workers, women in New England's mills and sailors being tattooed on board ship as well as her society commissions. While in England she photographed the stage actress Mary Anderson, who was a friend of her mother. In 1899, she gained further notability when she was commissioned by Hollis Burke Frissell to photograph the buildings and students of the Hampton Normal and Agricultural Institute in Hampton, Virginia in order to show its success. This series, documenting the ordinary life of the school, remains as some of her most telling work. It was displayed at The Exhibit of American Negroes of the Paris Exposition Universelle in 1900. She photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan-American Exposition of 1901 just before his assassination. With her partner, Mattie Edwards Hewitt, a successful freelance home and garden photographer in her own right, she opened a studio in New York in 1913 and moved in with her mother and aunt. Hewitt wrote Johnston love letters over the course of their relationship, which are chronicled in "The Woman Behind the Lens: The Life and Work of Frances Benjamin Johnston, 1864–1952." Many of the early letters focused on Hewitt's admiration for Johnston's work, but as their romance progressed, they became increasingly full of words of love: "...when I need you or you need me — [we] must hold each other all the closer and with your hand in mine, holding it tight..." She lectured at New York University on business for women and they produced a series of studies of New York architecture through the 1920s. In early 1920 her mother died in New York. In the 1920s, she became increasingly interested in photographing architecture, motivated by a desire to document buildings and gardens which were falling into disrepair or about to be redeveloped and lost. As her focus in architecture grew, she became specifically interested in documenting the architecture of the American South. Johnston was interested in preserving the everyday history of the American South through her art; she accomplished this by photographing barns, inns, and other ordinary structures. She was not interested in photographing the grand homes and estates of the American South, but rather the quickly deteriorating structures in these communities that portrayed the life of common southerners. Her photographs remain an important resource for modern architects, historians and conservationists. She exhibited a series of 247 photographs of Fredericksburg, Virginia, from the decaying mansions of the rich to the shacks of the poor, in 1928. The exhibition was entitled Pictorial Survey--Old Fredericksburg, Virginia--Old Falmouth and Nearby Places and described as "A Series of Photographic Studies of the Architecture of the Region Dating by Tradition from Colonial Times to Circa 1830" as "An Historical Record and to Preserve Something of the Atmosphere of An Old Virginia Town." Publicity from the display prompted the University of Virginia to hire her to document its buildings and the state of North Carolina to record its architectural history. Louisiana hired Johnston to document its huge inventory of rapidly deteriorating plantations and she was given a grant in 1933 by the Carnegie Corporation of New York to document Virginia's early architecture. This led to a series of grants and photographs of eight other southern states, all of which were given to the Library of Congress for public use. In December 1935, she began a year long project to capture the less evolved structures of the Colonial Era in Virginia. This was effort was intended to be a one year project, but evolved into an eight year extensive project, in which she surveyed 50,000 miles and 95 counties in Virginia. Johnston was named an honorary member of the American Institute of Architects for her work in preserving old and endangered buildings and her collections have been purchased by institutions such as the Metropolitan Museum of Art, the Virginia Museum of Fine Arts and the Baltimore Museum of Art. Although her relentless traveling was curtailed by petrol rationing in the Second World War the tireless Johnston continued to photograph. Johnston acquired a home in the French Quarter of New Orleans in 1940, retiring there in 1945, where she died in 1952 at the age of eighty-eight.Source: Wikipedia
Joseph Rafferty
Joseph Rafferty
United States
1976
Joseph Rafferty's projects are his artistic statements. When he was eight, his mother died. She went on vacation to Hawaii, and returned in a coffin. The boy was immediately uprooted from free and love-filled life, and forced to live with a freshly born-again Christian father, who became Joseph's newly self-appointed spiritual leader. An environmental lawyer who didn't ensure the safety of his own child's environment. Joseph's father silenced individuality, demanded polite compliance, and along with his stepmother, kept a still-grieving child tethered to linear thinking, Joseph did not develop the art of verbal expression. He quickly learned to swallow truth and hide pain. Photography became a powerful thread of connection to his emotion and spiritual ideas, laced with the harsh realities of a flawed culture, and the ironies within his family's worldview. Photography was an open window in his prison, giving fresh breath to a starving soul, and it became a pivotal foundation in his metamorphosis. It provided the theatre of the mind with a stage, creating space for growth and transformation beyond the stifling shell that threatened to entomb. Thriving on the sunshine of his bohemian mother's love. Joseph's nonlinear and free imprinting is counterculture's birthplace, San Francisco a land of a thousand languages, a thousand sexualities. This critical period of exposure deep seeded beliefs and values into the young child's subconsciousness he loved to see love. When his mom passed - her fashion colleagues & community sent words of condolences + small gifts of money. During his military enlistment Joseph would return to the photography store his mom frequented. With the small gifts of cash from letters of condolence he purchased large & medium format cameras and tripods. If I purchase cameras she's always with me. In doing so, he channels her instrumental spirit - a spirit guiding him from the pain and anger of his youth, and led to light. Through loving memory of her unconditional support, Joseph's found a peace and purpose in life, grounded in relationships with his partner and their children, mindful of certain pitfalls in our culture, and dedicated to the unedited, true expression of unique experience. Photography has been a life-line of expression during Joseph's stay on earth, feeling most grounded when his ideas materialize to visual imagery. Motivated by a passion for social justice, Joseph lives in a realm of beauty amongst pain. His visual linguistics are sculpted props and drawings, through which his visceral experiences emerge as a visual tapestry. Weaving images that provoke emotion and encourage empathy for others despite differences, Joseph's visuals are moments of "things as they are experienced psychologically, rather than things as they are scientifically" (William Mortensen). His body of work also influenced by early foundational years among the Redwood trees, his service in the United States Military, and his education at Art Center College of Design. Heavily inspired by Arnold Newman's manipulation of existing light, Joseph captures images with all formats of cameras. His photographic subjects begin with an idea explored through sketches further developed through research (literature, current events, locations, and style), and are materialized through intuitively sculpting of props. Each detail becomes a tool in building a landscape of meaning.
Patricia Lagarde
Patricia Lagarde
Mexico
1961
Patricia Lagarde was born in Mexico City, where she currently lives and works. Studies in Communication and Graphic Design. She develops in the middle of photography from an early age. Her work revolves around three fundamental axes; the object as a symbol, the construction of memory and the poetics of space. Her images and artist books have been shown in Museums, Galleries and Fairs in various countries around the world. In Mexico it is represented by Patricia Conde Galería, in San Francisco by The Jack Fischer Gallery. Statement Patricia Lagarde's work is akin to that imaginary construction of an excessive, circular notion of time found in the most conspicuous narratives of magical realism. She grabs such epic dimension of time and submits it to an intimate experience. The signs she works with have no great scenarios of history as spatial references but rather much more discrete enclosures, such as the alchemist's laboratory, a cabinet of curiosities or an antiques collection. Objects that have been touched, used or abandoned are the most recurring personal motives throughout her career. Or perhaps we should say the “aura” of such objects, resulting from the way time has noticed them. Insects, toys, maps and spheres, ancient instruments, clothes, reproductions of works of art, other photographs and other texts are then taken to a ranking ground where the colossal and the tiny are confused, where the distinction between the own and the alien is no longer important, the imaginary and the real hierarchies are reversed and the meaning of usefulness loses relevance. (Author_Juan Antonio Molina)
Clay Lipsky
Clay Lipsky
United States
Clay Lipsky is a fine art photographer & Emmy Award winning graphic designer based in Los Angeles. He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Despite his varied interests, photography has always been a part of Clay’s life. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities. Clay is self-taught and strives to create images that can stand the test of time. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, Wall Space, Rayko and Impossible Project Spaces in NYC & Warsaw, Poland. Clay has been published internationally in print and online, most notably with Esquire Russia, Wired Italia, Fraction, Square, Lenscratch, Diffusion, i-ref, Daily News (UK), Yahoo! Lifestyle (Germany), La Republica (Italy), Libération (France), Shots & um[laut] Magazines. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task. But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity. Clay works as fine art photographer and graphic in Los Angeles. His photos have been exhibited in group shows across the country, including the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC. He has been featured internationally in print and online in publications such as Fraction, Square, Diffusion, F-Stop, PH and Shots Magazines. Recently, he was a featured "Ten" through Jennifer Schwartz Gallery, and North Light Press will be publishing an edition of his Cuba photos through their 11+1 series. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www.lenscratch.com About the series In Dark Light This series of self portraits examines my loss of identity and enduring personal journey through depression. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass. Imagined as a vast, shadowed plane it is a private purgatory mired in fog with colors muted and senses numbed. The varied landscape acts as metaphor for life's many obstacles. Beyond the horizon lies hope for brighter days and so the lone soul carries on, albeit cast in dark light. Discover Clay Lipsky's Interview
Laura Mohiuddin
Laura Mohiuddin
Bangladesh
Laura Mohiuddin is a Bangladeshi activist, philanthropist, and a documentary photographer. Laura is best known for her various philanthropic activities and ventures in her country. Through her photographs, she tries to raise awareness about social issues such as patriarchy, gender inequality, violence against women and poverty. Being the daughter of freedom fighter diplomat Mohiuddin Ahmed, she spent years in Jeddah and Indonesia and returned to Bangladesh at the age of eight. As part of her career, she headed the award winning Infolady Social Entrepreneurship Program, where women on bicycles provided their services to poverty-stricken families in remote villages across Bangladesh. She also helped build the digital client profile of another award-winning program, Targeting the Ultra Poor (TUP) of BRAC, the largest NGO in the world. Her best captures are A grieving mother, which is attributed to the women who lost their husbands and sons during the mother language movement in Bangladesh in 1952. A Tribute to Nirbhaya is ascribed to a medical student in India who was brutally raped in a bus and finally succumbed to her injuries. Silent Tears speak of the women who are victims of domestic violence and abuse but do not come forward due to the various social restrictions and taboos in the Bangladeshi society. Currently she is trying to raise awareness against animal abuse and corruption in the animal welfare sector in Bangladesh through her various work.
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Interview
Reflections by Jon Enoch
Jon Enoch is a London-based freelance photographer, who works with celebrities, sports people, CEOs, as well as advertising agencies and brands. Jon regularly creates his own personal work, which have won numerous awards over the years. Jon’s recent project ‘The Candymen of Mumbai’ has won a Portrait of Humanity award and was the overall winner of the Pink Lady Food Photographer of the year 2023. His previous 2019 project called ‘Bikes of Hanoi’ also picked up multiple awards including the Paris Photo Prize - Gold in 2019, Portrait of Humanity Award 2020 and was the Smithsonian Grand Prize Winner in 2020. He was also shortlisted for the Sony World Photography Awards in 2020 and nominated for the Lens Culture Portrait Prize 2020. We asked him a few questions about his project 'Reflections'
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Exclusive Interview with George Byrne
Interview
Exclusive Interview with George Byrne
George Byrne is an acclaimed Australian photographer known for his striking use of color and composition. Byrne's work often captures urban landscapes with a minimalist and abstract aesthetic, transforming ordinary cityscapes into vivid, painterly images. His distinctive style highlights the beauty in everyday scenes, emphasizing geometry, light, and shadow to create visually captivating pieces. Byrne has gained international recognition for his unique approach to photography, blending elements of fine art and documentary to offer a fresh perspective on the urban environment.
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Call for Entries
Solo Exhibition December 2024
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