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Arkadiusz Kubisiak
Arkadiusz Kubisiak
Arkadiusz Kubisiak

Arkadiusz Kubisiak

Country: Poland
Birth: 1968

Arkadiusz Kubisiak is an independent documentary and portrait photographer. He studied photography at the European Academy of Photography in Warsaw. He participated in numerous workshops, like Transmission pour l’Image in Perpignan, France. He is a member of the Association of Polish Art Photographers in Warsaw, Poland.

His work won several awards, for instance, PX3, Prix De La Photographie Paris, Grand Press Photo, National Geographic Poland Photography Competition, SIPA Competition, Tokyo International Foto Award, BZ WBK Press Foto, Honorable Mention at International Photography Award. The work was shown in The Art of Photography Show in The USA, NEY Gallery in Warsaw, Masovian Center of Contemporary Art, Poland, and Warsaw Festival for Photographic Arts, Poland.

Arkadiusz published his work in The Eye of Photography Magazine, Paris, France, Black & White Magazine, USA, Silvershotz Magazine in Australia, National Geographic Poland, Digital Camera Poland, Edge of Humanity in The USA in Duży Format, and anywhere.pl, Live & Travel, Plus-Minus, Rzeczpospolita, Poland and in books: Punished Town, Passing Shadows, and group work Poland and its People, published by Press.

Arkadiusz works mostly on long-term projects dealing with social issues.

Gallery

Ney Gallery

Websites

arkadiuszkubisiak.com

@arkadiusz_kubisiak

 

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Andrea Kunstle
Andrea Kunstle
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"I was trained 3 years to become a photographer and afterwards I studied to become a "photo engineer". With all the knowledge of technology, I thought it would be easy to work as a photographer. But of course was not. Today I do live mainly in Berlin, work as a city guide or in a bicycle store, give workshops and in the spare time I work on my Art." Statement: Life is always full of surprises and in order not to miss them I worked on giving free rein to my creativity. I know how difficult is to keep going with your creativity, so I dicided to travel with my bicycle. Always 4 months during the winter times or even some longer trips. Getting out of my comfort zone gets me at least closer to what we call "Reality". But also just a little closer. The greatest challenge, but also the greatest satisfaction, is working with people. Meeting them, seeing them and then showing them in my pictures is what really drives me." www.kuenstle.de www.streetpepper.de www.jokeair.com @kuenstlephotography
Tom Atwood
Tom Atwood
United States
1971
Tom Atwood is an American fine art, portrait, and celebrity photographer, best known for his books Kings in Their Castles (2005) and Kings & Queens in Their Castles (2017). The New Yorker has praised the "refreshing clarity and modesty" of his work. Born and raised in Vermont, Atwood is a graduate of Harvard University, where he studied economics. He later earned an MPhil from Cambridge University. Atwood has lived in Paris, Boston, San Francisco, Los Angeles, and currently resides in New York City. Atwood worked several years as an advertising executive before turning full-time to commercial and fine art photography. As a photographer, Tom Atwood is largely self-taught, developing many of his techniques through trial and error. According to him, various cultural influences—including theater, painting, architecture, and psychology—have informed his photographic style. Tom Atwood is particularly known for combining and balancing the genres of portraiture and architectural photography, so that neither the subject nor his or her surroundings predominate in the final image. His recent work has focused on portraits of people at home. He has shot over 100 luminaries including Hilary Swank, Julie Newmar, Buzz Aldrin, Mark Wahlberg (Marky Mark), John Waters, Don Lemon, Tommy Tune, Meredith Baxter, Greg Louganis, Barney Frank, George Takei, Todd Oldham, Edward Albee, Ross Bleckner, Michael Cunningham, Alison Bechdel, Ari Shapiro, Don Bachardy, Charles Busch, Alan Cumming and Leslie Jordan. His second book, Kings & Queens in Their Castles, was recently published by Damiani. The book won multiple awards including First Place in the International Photography Awards (book category) as well as a Lucie Award (book-other category). Atwood was included in the National Portrait Gallery’s Outwin Boochever Triennial (Smithsonian Museum). He won first place in Portraiture in the Prix de la Photographie Paris. Atwood also won Photographer of the Year from London's Worldwide Photography Gala Awards, as well as first place in Portraiture. He has won over 40 additional awards including from the Griffin Museum of Photography, Center for Fine Art Photography, International Photography Awards, Santa Fe Center for Photography, Vienna International Photo Award (Gold Medal), CameraArts, Photo Life, PDN, The Photo Review, Communication Arts, Fence at Photoville, Graphis, Camera Club of NY, Jacob Riis Award, American Photography Annual, One Life International, American Art Awards, Photography Masters Cup, Manhattan Arts International, Hellerau Photography Award, World in Focus, Artrom Gallery Guild, PhotoServe, Reclaim Photo Award, Passepartout Prize, One Eyeland, International Photographer of the Year, International Color Awards, Moscow International Foto Awards, Kodak and American Photographic Artists (sponsored by the Getty Museum and Hammer Museum). He has also been recognized on Photo Life Magazine's list of 50 Emerging Photographers. Atwood's work has exhibited over 60 times in over 15 countries, including at the National Portrait Gallery (Smithsonian Museum), Griffin Museum of Photography, George Eastman House, National Museum of Finland (Finland), D’Amour Museum of Fine Arts, Kemper Art Museum, Center for Fine Art Photography, Museum of Photographic Arts, House of Lucie, Annenberg Space for Photography, Museum of Modern Art, University of the Arts, Frank Museum, Center for Photography at Woodstock, Benaki Museum (Greece), Museum of Science and Technology (Germany), Shibuya Cultural Center (Japan), Círculo de Bellas Artes Museum (Spain), LA Center for Digital Art, Pacific Design Center, Manhattan Arts International and other institutions.
George Rodger
George Rodger
United Kingdom
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George Rodger was a British photojournalist and war photographer, best known for his work documenting World War II and Africa. He was born on May 20, 1908, in Hale, Cheshire, England, and began his career as a photographer in the 1930s, working for magazines such as National Geographic and Illustrated London News. In 1940, Rodger joined the British Army as a war photographer, and covered the North Africa campaign and the invasion of Sicily. He later joined the RAF and covered the Normandy invasion and the liberation of Europe. His photographs from this period captured the harsh realities of war and the human impact of the conflict. When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. -- George Rodger After the war, George Rodger traveled to Africa and documented the continent's people and cultures. He spent several years living and working in West Africa, and his photographs from this period captured the daily lives of the people and the beauty of the land. He also documented the Mau Mau rebellion in Kenya, which aimed to end British colonial rule, and the effects of the rebellion on the local population. In addition to his work as a photojournalist, Rodger was also a founding member of the Magnum Photos agency, along with other renowned photographers such as Henri Cartier-Bresson, Robert Capa, and David "Chim" Seymour. He served as the first president of the agency and played an important role in establishing its reputation as one of the premier photographic agencies in the world. Rodger's photographs have been widely exhibited and published, and his work is held in several major museums and collections, including the National Portrait Gallery in London, the Museum of Modern Art in New York, and the Bibliothèque Nationale de France in Paris. I had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error... -- George Rodger Throughout his career, George Rodger always sought to document the human experience, whether it was the horrors of war or the beauty of everyday life. He believed that photography had the power to change the world and to bring about social change, and his work continues to inspire and inform photographers and photojournalists today. George Rodger passed away on July 9, 1995, in London, England. His legacy continues to inspire photographers around the world with his dedication to document the human experience, and his work remains iconic and powerful to this day.
Sam Heydt
Sam Heydt
United States
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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.
Laurent Dequick
Laurent Dequick
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Laurent Dequick is a professional architect in his forties. His photographic work has been influenced by architecture, since it is primarily focused on ideas surrounding the contemporary city and more specifically, urban sprawl. The photographer’s message is to accurately convey the impression of freneticism stemming from population density and activity in urban zones: “As you walk down the street, the lights, noises, traffic, hustle and bustle, and mix of smells are so striking that no single shot could capture all of it. So do we have to make choices? I don’t think so and I don’t want to.” To convey in images this “congestion” of urban life, Laurent Dequick does not hesitate to juxtapose, superimpose, or imbricate his shots. He fits together photographs representing architectural complexes, highways, and people, all with the same intensity. He condenses the images like the city condenses the sum of the lives of all of its inhabitants. His style is reminiscent of cubism in its rendering, which verges on abstraction in its representation of constant motion. Source: Yellow Korner The passing of time is a fascinating concept which happens all around us, at every single moment of every single day. French photographer Laurent Dequick decided to capture these fleeting seconds in a series of photographs entitled Vibrations Urbaines. Each image is a collective sequence of multiple photographs, superimposed together to visually reflect the chaos and congestion of large urban areas. The series features colorful and energetic portraits of both New York and Berlin. Viewers might feel a bit hyper as they view the still photograph which so strongly convey the motion of cars zipping past and the life of people rushing by. Dequick says his work is “primarily a reflection on the contemporary city and more specifically the proliferation of modern urban space.” Through these compositions, the artist portrays the constant urban action and excitement that are generally challenging to communicate through just one still photograph. Source: My Modern Met
Roger Grasas
Roger Grasas
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Roger Grasas (Barcelona, 1970) begins his professional career as a photographer in 1998 documenting cooperation projects for national and international foundations and NGOs as well as for UNESCO. Since then, traveling becomes the core of his artistic work, translating his experiences and reflections into visual arts. Between 2005 and 2009 he is the director of the BisouFoto communication studio and co-founder of the phototroupe Studio agency. In both projects he is in charge of the commissions related to travel photography, editorial portrait and social report. Regular contributor to several Spanish and international publications. In 2009 he moves to Riyadh (Saudi Arabia) where he leads the foundation of the photography department at Imagine Communication, a high end quality agency for social photography and events. During his stay in Saudi Arabia and later on until 2016 he develops the project 'Inshallah', a personal project about the extreme transformation of Middle eastern societies through the urban contemporary landscape in countries such as Saudi Arabia, Bahrain, Qatar, Emirates, Oman etc. His body of work approaches the role and importance that technology reveals within the post-modern digital society, the state of strangeness and confusion that human being suffers in the contemporary landscape and the increasingly connections between art and science. Sociopolitical issues such as globalization and philosophical concepts such as the 'difference', 'hyperreality' and 'alienation' generated by the postcapitalist society and the accelerated implementation of new technologies are also common places of their work. Since 1997 he has combined his professional activity with teaching in photography. Between 1997 and 2004 he teaches Photography and Landscape Production courses at the UPC's Image and Multimedia Technology Center. He also works as an academic at the Groc School of Plastic Arts (Barcelona), at the Communication Faculty of the National Autonomous University of Mexico and at the Mamori Art Lab Foundation in Brazil. He has also given various workshops and seminars related to travel anthropology and contemporary society such as "The Art of Travel: Photography and Travel" and "Why Travel? Ethics and Aesthetics of Leisure and Tourism". His His works have been exhibited on galleries of Spain, France, Netherlands, Germany, U.S.A., El Salvador, Saudi Arabia and Mexico. About 'Min Turab' In the space of a few decades, the landscapes of the Arab Gulf region have undergone a wholesale mutation driven by increased income from the oil, globalization and mass tourism. These countries have seen so a huge transformation, moving from the nomadic lifestyle of the bedouin tribes to a hi-tech urban society. The work takes the title from an arabic expression meaning “from the land”, and is an observation of this process oscillation between these two poles: an austere, traditional civilization on one extreme, and a postmodern culture under the powerful influence of capitalism and consumerism on the other. Founded on the idea of travel as an artistic method, these photographs hold up a mirror to the dyad of nature and technology in a place where the old and the new come together and the lines between them blur. This tension is evident both in the vast desert landscapes and in the images of cities, where the past and the future are compressed into the close quarters of the present. These representations of the landscapes of Saudi Arabia, Oman, Bahrain, Kuwait, United Arab Emirates and Qatar throw into sharp relief the binary opposition of the natural and the constructed. This sense of dislocation feeds into this idea of travel as an artistic dérive, drifting with no particular destination in mind, in search of new situations and experiences. In these dreamlike images, the author reflects on the concepts of the real and the unreal, with viewers left uncertain as to what is really going on. Almost completely lacking in human presence, these photographs show the mark left upon the landscape by consumer society at the same time as they seek out the beauty in strangeness. With a dry wit, the artist focuses his gaze on the idea of the simulacrum. The visual and conceptual glimpses of this world documents the colonization of contemporary landscapes by technology and the alienation of human beings in the digital societies of the Arabian Gulf countries. These images of silent architecture do not offer viewers any conclusions, but rather invite them to reflect and leave the way clear for a multiplicity of interpretations that connect with viewers' own imaginary.
Philippe Fatin
Philippe Fatin
France
1962
Philippe Fatin is a photographer and a great traveller: after first stays in Mexico and South America, he discovered Asia (Nepal, India, Sri Lanka, Thailand, Japan, Burma, Cambodia, Laos, Vietnam, Korea) and fell in love with China and more particularly with the region of Guizhou. After an interlude with the Wayanas Indians in French Guyana and the publication of his first book Guyane terre d'espace, he multiplies his travels to the Miao people of Guizhou and ends up residing there for more than twenty years. He published a book Randonnée d'un photographe voyageur in China and exhibits at the Guiyang museum, he also publishes in the national and international press. He is also a collector, organized various exhibitions of his personal collections in French museums: Gold and lacquers from Burma, tribal textiles from southwest China, Nuo masks from the exorcism theatre of China accompanied by publications. In The Mounts of the Moon When I got off the Trans-Siberian Railway in 1985, I knew nothing about China. The blue of the heater set the tone on a red background. I spent the first two years getting to know this culture, before discovering a province in the southwest that was still untouched by any contact with the outside world. The last Westerners present in the region were missionaries, who were driven out of it in 1949 by the communists. The province of Guizhou is one of the poorest, along with that of Gansu. "There are never three days of good weather in a row, the inhabitant does not have three sapeques in his pocket, and there are not three lilies of the flat country." That sets the tone. This province is rich in the diversity of its ethnic minorities, who had managed to maintain an authentic way of life. The villages still lived in autarky, protected by the mountain rampart. Ninety percent of the territory is karst peaks. My camera equipment consists of two Leica M6 cameras and four lenses: 28, 35, 50, and 90mm. With 270 days of rain per year and a constant fog, I use 400 ASA B/W silver film. The access of this province being forbidden to tourism, the task was not easy. The game of cat and mouse with the local authorities was not a perennial solution to penetrate these misty mountains concealing so many secrets. My approach was to establish a base in the provincial capital. I made "Guangxi" connections, and gained the trust of the people and the local authorities. I worked hard to make them understand my work of investigating ethnic groups, especially the Miaos. I obtained special permits to stay in various valleys and villages. After years, I was able to set up different bases in villages that were completely self-sufficient. Sharing the intimacy of the people and building trust, I was able to open the doors to them. My curiosity allowed the rest It would absorb twenty years of my life, during which I photographed a way of life that surged from festivals governed by the gods and the seasons. The evolution of the country a galloping modernization was going to change the situation. Obeying the three priorities of the government: water, electricity and roads, the opening up of the province would radically shape a new face of the population and its environment. In fifteen intervals, my photographic work has thus taken on a patrimonial status. A massive folklorization of ethnic groups (amusement park, pilot village,) their acculturation by the Han mass, the race for enrichment, have contributed to a new mode of integration of these ethnic minorities. This modernization of China and its brutal change of vision of society, over a short period of time, swept away ancestral cultures. Few Westerners have lived in this province, which is now crossed by highways connecting Shanghai, or Guangzhou. My photos are a testimony acquired over the long term, on a way of life that is disappearing in favour of a strong nationalism. It seems to me essential to show the cultural richness of this people, (Nine million people). The province of Guizhou is the home of the Miao diaspora (more than three hundred clans), a threatened melting pot of traditions and rituals mostly ignored by the Han. Indeed, in this rapidly changing society, the peasant populations, known as "floating", have been the cheap labour of China's economic departure.
Alexey Titarenko
Alexey Titarenko
Russia/United States
1962
Alexey Titarenko is a Russian-born photographer and visual artist best known for his black-and-white photos that investigate the link between time, location, and memory. He was born in Leningrad (now Saint Petersburg) in 1962 and grew up in the Soviet Union during a period of rapid political and cultural change. Before pursuing photography as a fine art form, Titarenko studied journalism at Leningrad State University and worked as a writer and photographer for a local newspaper. He was drawn to photography because of its ability to record and preserve moments in time, as well as reveal the nuances of the world around us. In the early 1990s, Alexey Titarenko moved to the United States and continued to develop his unique style of photography. He is best known for his series The City is a Novel, which was created in the early 1990s and was inspired by the architecture, history, and atmosphere of St. Petersburg. In these images, Titarenko employs a slow shutter speed to create a dream-like quality, blurring the movement of people and objects in the city's busy streets and squares. The result is a series of haunting and evocative images that capture the feeling of the city as well as its history and identity. Titarenko's work has been widely exhibited and published, and he has received numerous awards and accolades for his contributions to the field of photography. He has continued to explore themes of time, memory, and identity in his work, and has been particularly interested in the idea of "hauntology" – the study of the way that past experiences and events continue to influence our present and future. One of Titarenko's most significant contributions to the field of photography is his use of the technique of layering. In many of his images, he blends multiple exposures of the same scene, creating a complex and layered image that is both abstract and representational. This layering technique allows Titarenko to express his ideas about the relationship between time and memory, as well as to create images that are visually stunning and emotionally resonant. Titarenko's work has had a profound influence on the field of photography, and he is widely regarded as one of the most innovative and original photographers of his generation. His images are powerful and thought-provoking, and they invite us to contemplate the world around us in new and meaningful ways. Alexey Titarenko is a world-renowned photographer and visual artist whose work continues to inspire and enchant audiences worldwide. He has made an important contribution to the field of photography, and his photos will definitely continue to inspire and thrill future generations.
Ferdinando Scianna
Ferdinando Scianna
Italy
1943
Ferdinando Scianna (born 1943) is an Italian photographer. Scianna won the Prix Nadar in 1966 and became a full member of Magnum Photos in 1989. He has produced numerous books. Scianna took up photography while studying literature, philosophy and art history at the University of Palermo in the 1960s. He moved to Milan in 1966 and started working as a photographer for L'Europeo in 1967, becoming a journalist there in 1973. Scianna wrote on politics for Le Monde diplomatique and on literature and photography for La Quinzaine Littéraire. He first joined Magnum Photos in 1982, becoming a full member in 1989. He took up fashion photography in the late 1980s. His first work, in 1987, was to photograph Marpessa Hennink for Dolce & Gabbana's advertising campaign for their Fall/Winter collection, clothing which was inspired by Sicily.Source: Wikipedia Ferdinando Scianna started taking photographs in the 1960s while studying literature, philosophy and art history at the University of Palermo. It was then that he began to photograph the Sicilian people systematically. Feste Religiose in Sicilia (1965) included an essay by the Sicilian writer Leonardo Sciascia, and it was the first of many collaborations with famous writers. Scianna moved to Milan in 1966. The following year he started working for the weekly magazine L’Europeo, first as a photographer, then as a journalist from 1973. He also wrote on politics for Le Monde Diplomatique and on literature and photography for La Quinzaine Littéraire. In 1977 he published Les Siciliens in France and La Villa Dei Mostri in Italy. During this period, Scianna met Henri Cartier-Bresson, and in 1982 he joined Magnum Photos. He entered the field of fashion photography in the late 1980s and at the end of the decade he published a retrospective, Le Forme del Caos (1989). Scianna returned to exploring the meaning of religious rituals with Viaggio a Lourdes (1995), then two years later he published a collection of images of sleepers – Dormire Forse Sognare (To Sleep, Perchance to Dream). His portraits of the Argentinean writer Jorge Luis Borges were published in 1999, and in the same year, the exhibition Niños del Mundo displayed Scianna’s images of children from around the world. In 2002 Scianna completed Quelli di Bagheria, a book on his home town in Sicily, in which he tries to reconstruct the atmosphere of his youth through writings and photographs of Bagheria and the people who live there.Source: Magnum Photos
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