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Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid

Galuh Tunggadewi Sahid

Country: Indonesia
Birth: 1996

Galuh Tunggadewi is an Indonesian photographer whose work explores the small dramas and subtle patterns of urban life. Through her lens, everyday city scenes - from rain-soaked streets to abandoned objects on sidewalks - become stories about how we inhabit shared spaces. Based in Berlin, finds stories in places most people walk past without a second glance.

Statement
Cities are weird, beautiful things. Every street corner holds a story - in the half-drunk coffee cup someone left behind, in the way strangers dance around each other at train stations, in the beat-up couch with a "zu verschenken" (to give away) sign that might be trash or treasure. These are the moments I chase with my camera.

I'm drawn to how cities change people, and how people change their cities right back. Sometimes it's in big ways, but mostly it's in the little things - the umbrella dance everyone does when it rains, the way commuters create accidental patterns in morning light, the silent conversation between someone leaving something on the street and someone else deciding to take it home.

My photographs are about finding those in-between moments when the city drops its mask and shows its real face. It's in these quiet seconds - between the digital and physical, between the rush hours, between the planned and unplanned - that you can see how we all write our own little chapters in the city's endless story.

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Sam Haskins
United Kingdom
1926 | † 2009
Sam Haskins, was a British photographer, born and raised in South Africa. He started his career in Johannesburg and moved to London in 1968. Haskins is best known for his contribution to in-camera image montage, Haskins Posters (1973) and the 1960's figure photography trilogy Five Girls (1962), Cowboy Kate & Other Stories (1964) and November Girl (1967), plus an ode to sub-Saharan tribal Africa African Image (1967). Cowboy Kate & Other Stories was probably the first book to deliberately explore black-and-white photographic grain as a medium for expression and image design. It was highly influential at the time, sold roughly a million copies worldwide and won the Prix Nadar in France in 1964. It continues to influence contemporary photographers, filmmakers, fashion designers, and make-up artists. Cowboy Kate & Other Stories or 'Kate' as the book is often referred to, had its place in photographic history cemented in 2005 when the International Center of Photography in New York included the book in their exhibition The Open Book: A History of the Photographic Book from 1878 to the Present. November Girl contained key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 1980s. African Imagewas a visual homage to the indigenous people, culture, landscape and wildlife of sub-Saharan Africa. The images represent a lifelong interest in photographing graphically stimulating environments and formally document his passion for the indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting the book. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of his major creative projects, but it is coveted by serious collectors of African art and photography. In 1968, Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked as an advertising photographer for international consumer brands Asahi Pentax, Bacardi, Cutty Sark whisky, Honda, BMW, Haig whisky, DeBeers, British Airways, Unilever and Zanders, and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although he endorsed Hasselblad for a short period in the late 1960s and early 1970s, his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare long-term association between a camera manufacturer and photographer. From 1970 to 2000, Asahi Optical (later Pentax) produced 30 calendars, of which Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967, when Asahi Optical presented him with a 35 mm camera after hearing that he had shot African Image with various competitors' products. In 1972, he produced his first colour book, Haskins Posters. The large-format publication contained pages printed on one side using thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and Alida successfully published the book internationally through their own company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 1970s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'. He suffered a stroke on 19 September 2009 the opening day of his exhibition to launch Fashion Etcetera at Milk Gallery in New York, and died at home in Bowral, Australia, nine weeks later.Source: Wikipedia
Anna Matysiak
Poland
1978
Anna Matysiak, born in 1978, is an independent photographer working in the fine art style. With a keen eye for detail and an innate ability to convey emotion, she particularly enjoys capturing the essence of her subjects through portrait photography. Although her educational background is in economics, her passion for the arts led her to fully immerse herself in the world of photography, a journey she began in 2020. In addition to her striking portraits, Anna's portfolio showcases an impressive array of conceptual and nude photography, highlighting her versatility and creative vision. Her work has gained significant recognition, with photographs exhibited in prestigious venues across the globe, including Tucson in the United States, London in the United Kingdom, Vien in Austria, Siena in Italy and Szczecin in Poland. Through her lens, Anna invites viewers to explore the profound beauty and complexity of the human experience. Matysiak garnering recognition in numerous prestigious international competitions. These contests were judged by a jury panel of esteemed professionals, including gallery owners, publishers, editors, and acclaimed photographers, all of whom brought a wealth of experience and expertise to their evaluations. She has received numerous prestigious awards. In 2025, she won a bronze medal in the Tokyo International Foto Awards in the Fine Art (Other) category and a special award in the Vienna International Photography Award in the Free Subject category. In 2024, she won a bronze medal in the Fine Art category at the Chromatic Awards. In 2023, she received a gold medal in the Fine Art (Other) category at the ND Awards. Since 2021, her works have also been awarded distinctions in the Creative Photo Awards (Siena Awards), International Photography Awards, Fine Art Photography Awards, Annual Photography Awards, and Budapest International Foto Awards. Currently based in Szczecin, Poland. STATEMENT: "When I embarked on my journey into photography, my initial focus was primarily on portrait photography, capturing the essence of people as they were. However, deep down, I yearned to express more than just a straightforward depiction. As time passed, my artistic vision evolved, heavily influenced by the remarkable artists I held in high regard— distinguished photographers and talented painters whose works stirred something within me. I increasingly felt compelled to illustrate people and places through my lens, revealing how I perceive their beauty and intricacies. My aim was to highlight my subjects' hidden depths, enabling them to resonate with viewers on a reflective level. In the present day, my creative process often revolves around symbolism. I cherish the notion that viewers can engage with my images, pondering their meanings and engaging in conversations about them. The nature of my work is significantly shaped by my surroundings. Every photograph I take is a product of the environment and the individuals I encounter throughout my journey. A distinct location may ignite a vision for an artistic photograph, while an intriguing individual might inspire a unique portrait. Even melodies in my surroundings can trigger the imagery I wish to convey and the narratives I long to tell. When approaching the creation of conceptual photography, I immerse myself in meticulous preparation. Each detail is carefully curated to ensure the final presentation aligns with my artistic intent. While the subject matter varies widely, a common thread runs through all my work: capturing the viewer's attention enough to provoke thought and facilitate the discovery of more profound messages. Photography is not just a pursuit for me - it is a rofound passion that fills my heart with joy. This joy magnifies with the reach of my audience. Each accolade, award, and exhibition serves as wings that propel me forward, motivating me to delve deeper into my art. I believe that every artist crafts their work with an audience in mind. As I maintain a critical eye on my creations, the praise and recognition I receive from esteemed figures in the photographic world inspire me to elevate my craft, embrace new challenges, and continue this exhilarating journey of self-expression."
Colby Deal
United States
1988
Colby Deal is a photographic artist born (b. 1988) and raised in Houston, Texas. He received his Bachelor of Fine Arts in the practice of photography from The University of Houston. Within his practice, he explores the culmination of elements of the psychological environment as well as the physical. He shows the dynamic range of family, community and the individual by combining street photography and portraiture to capture vibrant communities. In recent years he has incorporated the medium of sculpture and public art as a means of preserving cultural characteristics that are being erased and positively influencing his community and others alike. Colby is directly inspired by his upbringing through getting to see his family’s photographs that were mostly taken by his father. This appreciation for slowing down and concentrating on photographing what’s right in front of him, “The Now”, has led him to be more in touch with using analog photography. Colby Deal is an alumni of Project Row Houses residency, Red Line Contemporary Art Center residency in Denver, Colorado and in 2020, was awarded an exhibition at the Houston Museum of African American Culture. Colby became a Magnum nominee member in 2020.Source: Magnum Photos Colby Deal is a firm believer in the potential of photography to be a transformative medium. “Especially now with Covid and how it is separating people, imagery is so important” he says, over video call from outside his home in Houston’s Third Ward, where he has been photographing with the intention to uplift cultural representations of the predominantly Black neighborhood. “People of color and people from under-resourced communities are always shown negative images about themselves,” says Deal, whose practice involves pasting his images onto abandoned buildings and derelict shopfronts. “Imagine being a kid, waking up, getting on the school bus, and seeing yourself displayed monumentally in a positive manner. That can have a strong psychological effect on the way you think about yourself and others. Like seriously, just a glance at an image can change your thought patterns — it can change your whole life.” Adopting a participatory approach, Deal’s process involves a lot of talking and walking. On a typical day, he will drag his large format camera on a wagon, stopping at people’s doorsteps and porches for a drink, smoke, and conversation, about their lives and the condition of their community. “I don’t want to call it a story because I sound like a fucking news reporter,” he laughs, “but what I’ll do is walk around, find things I like, and shoot around it”. The culmination of these excursions is Beautiful, Still, an ongoing collection of over 1,000 black-and-white negatives of street photographs and portraits. The ability to layer these historical, personal, and social contexts in a single image can be cited back to Deal’s childhood and evolution as an artist. Deal was initially self-taught, later enrolling in the Photography BFA at The University of Houston, mostly for “the network,” he says, and to “learn how to better articulate what I was doing”. The documentary photographer, who last month became a Magnum nominee, is also a sculptor, carpenter, graphic designer, and painter. “As a child, everything I found joy in was about art,” says Deal, who was drawing from the age of three, and later developed an obsession with breaking down objects and piecing them back together. “That aspect has played a huge part in what I do today, which is looking at an idea, concept, or message that I want to get across, then starting from the root, and working from there.”Source: British Journal of Photography
Carrie Mae Weems
United States
1953
Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Determined as ever to enter the picture—both literally and metaphorically—Weems has sustained an on-going dialogue within contemporary discourse for over thirty years. During this time, Carrie Mae Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation, and video. In a New York Times review of her retrospective, Holland Cotter wrote, ''Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible." Weems has participated in numerous solo and group exhibitions at major national and international museums including the Metropolitan Museum of Art, The Frist Center for Visual Art, Solomon Guggenheim Museum in New York, and the Centro Andaluz de Arte Contemporáneo in Seville, Spain. Weems has received numerous awards, grants, and fellowships, including the prestigious Prix de Roma, The National Endowment of the Arts, The Alpert, The Anonymous was a Woman, and The Tiffany Awards. In 2012, Weems was presented with one of the first US Department of State’s Medals of Arts in recognition for her commitment to the State Department’s Art in Embassies program. In 2013 Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. She has also received the BET Honors Visual Artist award, the Lucie Award for Fine Art photography, was one of four artists honored at the Guggenheim’s 2014 International Gala, a recipient of the ICP Spotlights Award from the International Center of Photography, The WEB Dubois Award from Harvard University, as well as Honorary Degrees from: California College of the Arts, Colgate University, Bowdoin College, the School of Visual Arts and Syracuse University. She is represented in public and private collections around the world, including the Metropolitan Museum of Art, NY; The Museum of Fine Arts, Houston; the Museum of Modern Art, NY; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London. Weems has been represented by Jack Shainman Gallery since 2008, and is currently Artist in Residence at the Park Avenue Armory. She lives in Syracuse, New York, with her husband Jeffrey Hoone who is Executive Director of Light Work.
Felice Beato
Italy / United Kingdom
1832 | † 1909
Felice Beato, also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events like the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial body of photojournalism. He influenced other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting. A death certificate discovered in 2009 shows that Beato was born in Venice in 1832 and died on 29 January 1909 in Florence. The death certificate also indicates that he was a British subject and a bachelor. It is likely that early in his life Beato and his family moved to Corfu, at the time part of the British protectorate of the Ionian Islands, and so Beato was a British subject. Because of the existence of a number of photographs signed "Felice Antonio Beato" and "Felice A. Beato", it was long assumed that there was one photographer who somehow photographed at the same time in places as distant as Egypt and Japan. In 1983 it was shown by Chantal Edel that "Felice Antonio Beato" represented two brothers, Felice Beato and Antonio Beato, who sometimes worked together, sharing a signature. The confusion arising from the signatures continues to cause problems in identifying which of the two photographers was the creator of a given image. Photographs of the 19th century often now show the limitations of the technology used, yet Beato managed to successfully work within and even transcend those limitations. He predominantly produced albumen silver prints from wet collodion glass-plate negatives. Beato pioneered and refined the techniques of hand-coloring photographs and making panoramas. He may have started hand-coloring photographs at the suggestion of Wirgman, or he may have seen the hand-colored photographs made by partners Charles Parker and William Parke Andrew. Whatever the inspiration, Beato's colored landscapes are delicate and naturalistic and his colored portraits, more strongly colored than the landscapes, are appraised as excellent. As well as providing views in color, Beato worked to represent very large subjects in a way that gave a sense of their vastness. Throughout his career, Beato's work is marked by spectacular panoramas, which he produced by carefully making several contiguous exposures of a scene and then joining the resulting prints together, thereby re-creating the expansive view. The complete version of his panorama of Pehtang comprises seven photographs joined together almost seamlessly for a total length of more than 2 meters (6 1/2 ft). Although Beato was previously believed to have died in Rangoon or Mandalay in 1905 or 1906, his death certificate, discovered in 2009, indicates that he died on 29 January 1909 in Florence, Italy.Source: Wikipedia In a peripatetic career that spanned five decades, the photographer Felice Beato (1832–1909) covered a wide swath of East Asia. Following in the wake of Britain's vast colonial empire, he was among the primary photographers to provide images of newly opened countries such as India, China, Japan, Korea, and Burma. A pioneer war photographer, Beato recorded several conflicts: the Crimean War in 1855–56, the aftermath of the Indian Mutiny in 1858–59, the Second Opium War in 1860, and the American expedition to Korea in 1871. His photographs of battlefields, the first to show images of the dead, provided a new direction for that genre. Catering to a Western audience, Beato produced an exceptionally diverse oeuvre: topographical and architectural views, including panoramas, as well as portraits and costume studies of the countries he visited or in which he resided. From Beato's series on domestic Japanese society, the full-length portrait shown here depicts the traditional armored costume of the samurai, the soldier of noble class who served the powerful rulers of Japan. Beato spent more than 20 years in Japan (1863–84), his longest residency in one country and the most prolific period of his career. There he witnessed one of the most turbulent eras in Japan's history, known as the Bakumatsu period (1853–68), when the Tokuga shogunate gave way to the Meiji reign. During his time in Japan, Beato employed the wet-collodion method, which reduced the length of exposure to seconds rather than minutes. The use of photography began to spread in Japan in the mid-1850s, and Beato's work rapidly achieved success as he offered the first hand-colored photographs and photographic albums in the country. Despite restrictions on foreigners' travel, Beato developed a remarkable and rare visual record of Japan. This photograph depicts the monumental sculpture of the Dai Bouts (Great Buddha), which had been the centerpiece of a temple that was destroyed by a typhoon. It was an important attraction at Kamakura, and Beato was the first Westerner to photograph it. He posed himself in the scene, sitting on the stairs, while local men climbed the statue. Beato left Japan in 1884, but his photographs continued to circulate with the successive sales of his negatives to different studios.Source: The J. Paul Getty Museum
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