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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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JB Russell
JB Russell
France/United States
1961
Born in Long Beach, California in 1961, J.B. Russell is a Paris-based documentary photographer, filmmaker and educator. After receiving a Bachelor of Science degree in Geology and Geography and working for two years as a geologist, J.B. decided to take a year or two off to pursue a passion for photography and to satisfy a genetic predisposition for wanderlust. Once on the road however, he never looked back. He has worked extensively throughout Europe, Africa, the Middle East, Asia and Latin America focusing on current events, the human consequences of conflict, human rights, the environment and development issues. His work appears regularly in major print and on-line publications worldwide, including: Time, Newsweek, The New York Times, French GEO, Paris Match, Le Monde, Stern, Der Spiegel, Corriere della Sera magazine, The Daily Telegraph, The Guardian, El Mondo magazine and many more. J.B. collaborates frequently with international humanitarian organizations such as Doctors Without Borders, Save The Children, Mines Advisory Group, The Global Fund and others to produce images, video and written material on critical humanitarian issues for their communication needs. His work has received numerous accolades, including the Public Prize at the Bayeux War Correspondents Competition, 1st place in the News Picture Story category of the POYi competition, his images have been selected on multiple occasions for the American Photography anthology, he received the Saint Brieuc Photoreporter Grant and his work has been exhibited and frequently featured at Visa Pour L'Image in Perpignan, France, among many other festivals and venues. J.B.'s career has spanned the transition from analogue to digital photography and the profound changes that the Internet and Social Media have had on journalism and the press. He believes that honest, engaged journalism remains crucial to public information in today's media landscape. J.B produces independent documentary photography and video projects, embracing diverse story-telling forms and platforms. He is a dedicated teacher of photography, teaching and speaking regularly in diverse university programs, workshops and photography courses. J.B. Russell is member of the Panos Pictures Agency and a core member of the Instagram collective #EverydayClimateChange.
August Sander
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Germany
1876 | † 1964
August Sander was a German portrait and documentary photographer. Sander's first book Face of our Time (German: Antlitz der Zeit) was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century." Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897-99) as a photographer's assistant and the next years wandering across Germany. In 1901, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne. In 1911, Sander began with the first series of portraits for his work People of the 20th Century. In the early 1920s, he came in contact with the Group of Progressive Artists (Kölner Progressive) in Cologne, a group as Wieland Schmied put it, "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ". In 1927, Sander and writer Ludwig Mathar travelled through Sardinia for three months, where he took around 500 photographs. However, a planned book detailing his travels was not completed. Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live. -- August Sander Sander's Face of our Time was published in 1929. It contains a selection of 60 portraits from his series People of the 20th Century. Under the Nazi regime, his work and personal life were greatly constrained. His son Erich, who was a member of the left-wing Socialist Workers' Party (SAP), was arrested in 1934 and sentenced to 10 years in prison, where he died in 1944, shortly before the end of his sentence. Sander's book Face of our Time was seized in 1936 and the photographic plates were destroyed. Around 1942, during World War II, he left Cologne and moved to a rural area, allowing him to save most of his negatives. His studio was destroyed in a 1944 bombing raid. Sander died in Cologne in 1964. His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century. In this series, he aims to show a cross-section of society during the Weimar Republic. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander's archive included over 40,000 images. In 2002, the August Sander Archive and scholar Susanne Lange published a seven-volume collection comprising some 650 of Sander's photographs, August Sander: People of the 20th Century. In 2008, the Mercury crater Sander was named after him.Source: Wikipedia I never made a person look bad. They do that themselves. The portrait is your mirror. -- August Sander
Mina Teslaru
Mina Teslaru
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Born in Bucharest, Romania, Mina spent her childhood in theatre, amongst preparing actors, dusty props and costumes, and most summers by the Black sea, capturing the world with her plastic panoramic camera.Fascinated by movies and cinematography, she frames the world in overexposed imagery that reflects the luminosity of her vision. Since her move to NYC, she fell irreversibly in love with Coney Island, a subject that has been the center of her work for the past 3 years. She was a featured artist of the Greenpoint Gallery in Brooklyn and is a member of Norfolks NYC Art Collective.Mina lives in NYC and travels often, in search of serendipity driven by restless creativity.
Annemarie Jung
Annemarie Jung
Luxembourg
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Edward Steichen
Edward Steichen
Luxembourg/United States
1879 | † 1973
Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
Stéphan Gladieu
Stéphan Gladieu
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Stéphan Gladieu was born in 1969 and lives in Boulogne-Billancourt. He is represented by Olivier Castaing of the School Gallery in Paris and Artco Gallery in Germany, Cape Town and Joshua Tree. He began his career in 1989, covering war & social issues, travelling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). Going back to his beginnings, he very quickly enriched his photographic writing by using portraiture to bear witness to the human condition in the world. His main focus is on his personal and artistic work through series of portraits in which DNA is colour and the play of contrast between subject and background in natural settings. Stéphan Gladieu plays on the iconic character of the frontal image and on the frontier between the real and the unreal. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over. Stephan still realize international features and portraits series, for international magazines but he is mainly focused on is personal work: human story through colorful portrait collection. On the side of his journalist activity, Stephan is working with private company (LVMH, Danone, TOTAL…) and International institutions (World Bank, UNICEF) to work on their visual identity. Nowadays, Stephan Gladieu’s work is published in leading publications in France and internationally.Source: www.stephangladieu.fr Exclusive Interview with Stephan Gladieu
Erwin Blumenfeld
Erwin Blumenfeld
Germany/United States
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Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
Carl De Keyzer
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
Jean-Francois Jonvelle
Jean-Francois Jonvelle
France
1943 | † 2002
Jean-François Jonvelle, born on October 3, 1943, in Cavaillon was a French photographer of fashion, glamor and portraiture. Work on the release of 20 ans magazine and then work on Dim, Dam, Dom, Vogue, Stern, Gala, Elle. In the 1960s, Jonvelle was assistant to Richard Avedon. During his career, he made many portraits of women, often his friends: natural young people, often naked, unconcerned. Unlike other fashion and glamor photographers, who offer a provocative woman, Jean-François Jonvelle's performance is much softer, more natural, more jovial but equally sensual. He died at the age of 58 years of terminal cancer, 15 days after it was detected on January 16, 2002, in Paris.Source: Wikipedia Jean-François Jonvelle was snatched by the hand of death with a suddenness to match the photographs that were his life. Just as that life was dedicated to capturing these stolen moments, so death followed suit, carrying him off in the midst of life. A tumor was discovered in early January, a final farewell just a fortnight later. He was gone in a flash. As I turn the pages of my friend’s last book my eyes mist over. My tears dissolve Jonvelle’s photographs into the soft focus of a David Hamilton. Jonvelle’s work is often described as being – in the time-honored formula – ‘sexy but not vulgar’. I prefer his own description of what he sought out: ‘la poésie du quotidien’, ‘the poetry of the everyday’. Photographs freeze moments of truth, all you have to do is choose the ones that do it best. "I tell myself that the present and the future don’t exist", he also used to say. "Everyone, every day, creates their own past." The quality that makes his images more moving than the rest is their vulnerability. Jonvelle taught me one crucial lesson: in photography, as in literature, what counts is feeling. Eroticism and tenderness are not sworn enemies. A downy arm, the frail nape of a neck, an uptilted breast, the curve of a back beneath the sheets, damp hair, closed eyelids, the trace of a kiss on the neck all these can be arousing. Jonvelle’s women are fresh and natural because they are unaware of our gaze. Jonvelle makes adoring voyeurs of us all. He shows us why heterosexuality can be so painful: everywhere, in every house and every bathroom, paradise lurks. Paradise delicately removes her T-shirt, brushes her teeth, buttocks pert, the curve of her breasts taut, timeless. Suddenly paradise parts her legs in silence, biting her fingernails as she looks you straight in the eye, teasing you as she waits for you on the sheets. Jonvelle is in paradise now, but for him nothing has changed: he was already there in his lifetime. As I gaze in wonder, the way I always do, at these images, so far removed from the familiar clichés, my thoughts turn to the beautiful women he immortalized. Photographs fix the fleeting, immortalize the ephemeral. Many of the women Jonvelle photographed are now old or dead, but – thanks to this photographer who is now also dead – their perfection will never fade. Every one of Jonvelle’s photographs is a declaration of love. One day, at my request, he photographed Delphine Vallette, the mother of my daughter. I wanted to give this brunette whom I loved a portrait. Never have I felt such a cuckold – though in the most erotic of ways. Beauty is an evanescent mystery that some artists have the ability to capture. As I look again at these wonderful images, I’m reminded of the title of that American comedy Drop Dead Gorgeous. Jonvelle’s work as a whole is not an ode to femininity; the story it tells is of the battle to vanquish death by means of the celebration of desire. All these shoulders caught by surprise, these half-seen breasts, these finely- arched insteps, these flawless backs, this sensual solitude, this calm between two storms, all these beautiful women who don’t give a damn are simply doors softly opened, through which we may catch a glimpse of eternal life. -- Frédéric Beigbeder Jean-François Jonvelle was born in 1943 in Cavaillon, south of France. Soon he will sell famous melons to buy Hasselblad. Its inspirations will come from the painting of Balthus, Bacon, of Schiele, but the true influence comes from films from Mankiewicz, Lubitsch, Fritz Lang, Orson Welles, Arthur PEN, Minnelli and more recently of Terry Gillian of which it acknowledges to have seen eleven times the film Brazil; Finally its preferred film: Jules and Jim of François Truffaut. In 1959, it is the photographer George Glasberg who initiates him with photography while making him make the turn of France of the cathedrals. It is a photographic revelation which will leave it never again. At the age of 20 he becomes the assistant of the American photographer Richard Avedon. After this enriching experiment he becomes his own 'Master' whose favorite subject will be the woman. Her mom and her small sister of whom he always was very near will be her 'first agreeing victims'. Then come the first 'muse' and accomplice, Tina Sportolaro whom he meets in 1982 and with which he carries out some of his more beautiful images. Will be then Béatrice, Myriam and many others.Source: The Eye of Photography
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