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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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More Great Photographers To Discover

MG Vander Elst
Belgium/United States
1967
Raised In Antwerp, Belgium, MG Vander Elst is a Fine Art Photographer and holds a Certificate of Photography from The Portfolio Center in Atlanta, Ga. She worked as a photographer’s assistant in NYC and developed her Portraiture work which later expanded to include, still life, abstract and landscape work. Art was all around her growing up in Antwerp, where she regularly visited the Ruben’s house, studied the Dutch Masters, and shared her parents love for Modern Art. The light, gesture and intimacy of the Dutch masters and the minimalism of modernists still influence her work. MG’s fine art photography approach is intuitive, stemming from an idea or an emotion. Whether photographing landscape, florals or abstracts she tries to make visible what is invisible, pursuing that intimate moment between inhale and exhale. Statement MG’s latest work in florals, still life and abstract work all stem from the same place, a place of loss, identity and forging ahead. Letting go "Floral images are my new center, I use flowers that I encounter in my neighborhood and local shops, it is no surprise to learn that these flowers embody the range of emotions I have been going through, like remembrance, growth, healing, refuge, and love. Through this process I am learning that photographing the simple lines and daintiness of these flowers they become an exercise in form, in juxtapositions and in letting go. In closely observing the shifting shapes of these living forms, who then transition, mature, and wilt I witness the contrasting paradox in beauty when blossoming or dying combined with their shaggy stalk and the petal’s ethereal texture which generates this visual dissonance that captivate me. I am not frozen and no longer afraid, but instead I am finding a rise of energy in this newfound freedom of moving in a place I have never been." Finding my Way "At the onset of the Pandemic, I lost my mother, simultaneously, my eldest son was preparing to leave for college. With the loss of my mother, I became the adult, the matriarch. The guidance I trusted and the intimacy I relied on was gone, that comfort of being the child vanished. With the anticipation of my son’s departure, I was thrusted into an uncharted emotional landscape, one where I felt undefined as a mother and did not know how to move forward. So, returning to myself and turning the camera onto my body is my way forward. By abstracting my body, I examine the shapes and textures of my form; in this pause, I am able to explore and chart my new emotional landscape. This way I am relearning who I am in order to know where I am going." Conformity "When I am creating still life’s in my own domestic spaces or in my studio. I am asking questions about my life today, as a woman, as mother and as a spouse. Whose ideas about myself am I conforming to? Why do I possess a pink razor, Is this herbal tea really soothing me? By calling attention to the everyday mundane possessions, we surround ourselves with, my intention is clear from the start. In certain instances, I juxtapose them with random objects, or I deliberately leave them by themselves. But by posing these objects in specific places I am adding a tension to the image and the one-dimensional image becomes a multi-dimensional exploration of the time we live in. I am making room for consideration, focusing on what that object means to us and what it evokes in us and why we surround ourselves with it. I aim to create a pause." AAP Magazine: AAP Magazine 26 Shapes Article Silences
Giovanna Aryafara
I am a photographer deeply drawn to the authenticity of human connection and the beauty of cultural resilience. My work is rooted in natural light—I never use flash or artificial setups, as I believe less gear creates a more comfortable and organic experience for my subjects. This allows me to connect with them deeper, capturing their essence without intrusion. Occasionally, when I have the time, I incorporate a black backdrop—particularly when camping—creating an intimate space to balance both environmental and portraiture elements. However, my process always begins the day before a shoot. I explore the area, searching for the best natural light (“chasing the light”) and ensuring the background complements the subject without distractions. Just as important is observing and connecting with the people, and understanding who is comfortable with my presence behind the lens. My photography is defined by its relaxed, immersive style—capturing joy, beauty, and quiet moments of connection in a subject’s natural environment. Whether it’s the strength of Ethiopian tribes or the spiritual devotion in Bali, I strive to document cultural narratives with honesty and warmth. I shoot primarily in Africa, particularly Ethiopia, but Bali is home. My husband is Balinese, and my connection to the island runs deep, especially in the villages where tradition, Hindu rituals, and daily resilience are ever-present. When I’m not travelling, I work from my Photography Gallery & Coffee House in Bali, where my small, dedicated team understands and shares my passion for storytelling through images. For years, I exclusively used Canon gear, but three years ago, I transitioned to Sony Alpha R5 (two bodies), paired with my go-to lenses: • Sony G Master 24-70mm • Sony G Master 70-200mm • Sony 50mm Prime • Sony 16-35mm However, I only carry what is necessary for each shoot, ensuring I remain as mobile and unobtrusive as possible. The two series I have submitted—Ethiopia and Bali—reflect my deep appreciation for culture, beauty, and resilience. Whether in the remote Omo Valley or the heart of Bali’s spiritual traditions, my focus remains the same: to honour the people I photograph and to share their stories with the world. About the Myanmar Collection "Myanmar is one of my favourite places on Earth—it feels like time has stood still. The ancient pagodas, temples, and deep history make it so special, but Bagan is truly breathtaking. The monasteries, the monks, and their quiet way of life have always drawn me in. There’s something about the early morning light, the sound of chanting, and the simplicity of daily rituals that feels unchanged for centuries. Through my photographs, I want to capture that feeling—the beauty, the stillness, and the deep sense of tradition that makes Myanmar so unique." Awarded Photographer of the Week - Week 09
Gilles Peress
France
1946
Gilles Peress (born December 29, 1946) is a French photographer and a member of Magnum Photos. Peress began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress’ first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the U.S., Afghanistan, and Iraq. His project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences. Peress’ books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: Srebrenica and Vukovar; A Village Destroyed; and Haines. Portfolios of his work have appeared in the New York Times Magazine, The Sunday Times Magazine, Du magazine, Life, Stern, Geo, Paris Match, Parkett, Aperture and The New Yorker. Gilles Peress’ work has been exhibited and is collected by the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art and MoMA PS1, all in New York; Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C; San Francisco Museum of Modern Art; The J. Paul Getty Museum in Los Angeles; Walker Art Center and Minneapolis Institute of Arts; Victoria and Albert Museum in London; Musée d'Art Moderne de la Ville de Paris, Musée Picasso, Parc de la Villette and Centre Georges Pompidou in Paris; Museum Folkwang, Essen; and Sprengel Museum in Hannover. Awards and fellowships Peress has received include a Guggenheim Fellowship, National Endowment for the Arts grants, Pollock-Krasner and New York State Council on the Arts fellowships, the W. Eugene Smith Grant for Humanistic Photography and the International Center of Photography Infinity Award. Peress is Professor of Human Rights and Photography at Bard College in New York and Senior Research Fellow at the Human Rights Center at UC Berkeley. Peress joined Magnum Photos in 1971 and served three times as vice president and twice as president of the co-operative. He and his wife, Alison Cornyn, live in Brooklyn with their three children.Source: Wikipedia Born in Neuilly-sur-Seine, Gilles Peress made his first photographic series in 1970 after attending the Institut d'Études Politiques (1966-68) and the Université de Vincennes (1968-71). By 1971, he had established himself as a freelance photographer, publishing work in Du, the London Sunday Times, The New York Times Magazine, Photo, and other periodicals. In 1972 he joined Magnum, the international cooperative photography agency founded in 1947 by Henri Cartier-Bresson, Robert Capa, George Rodger, and Chim (David Seymour); he has served twice as the organization's president. A National Endowment for the Arts grant in 1979 allowed him to travel to Iran, where he made the photographs published as Telex: Iran--In the Name of Revolution (1984), his first book. Other major projects include his documentation of the Irish civil war from 1971 to 1979, published as An Eye for an Eye: Northern Ireland (1986), and Hate Thy Brother, an ongoing cycle of photographs documenting the resurgence of extreme nationalism around the world. Peress's work has been included in group exhibitions at the Musée d'Art Moderne in Paris, the Corcoran Gallery of Art, ICP, and elsewhere. He has received, among other honors, a W. Eugene Smith Award, the Ernst Haas Award, a Guggenheim Fellowship, and ICP's Infinity Awards for Journalism in 1995 and for his publication The Silence in 1996. Gilles Peress's photography demonstrates his uncommon ability to navigate and communicate the atmosphere and urgency of volatile political environments. While his early work identified him as a "concerned photographer," his more recent work suggests an increasing concern with form and a more obvious sense of subjectivity. In this respect, Peress's photographs echo the photojournalism of Henri Cartier-Bresson, whose conflation of aesthetics and reportage set the precedent for artistic photojournalism earlier in the century.Source: International Center of Photography
Nat Fein
United States
1914 | † 2000
Nathaniel Fein (August 7, 1914 – September 26, 2000) was a photographer for the New York Herald Tribune for 33 years. Fein is known for photographing Babe Ruth towards the end of his life, winning the 1949 Pulitzer Prize for his photograph The Babe Bows Out. Fein was born and raised on the Lower East Side of Manhattan. He was a press photographer at the New York Herald Tribune from 1933 to 1966. Known for setting a scene correctly, he would climb buildings and bridges to get the shot he was after. Fein's main subject matter was New York following World War II. Albert Einstein, Ty Cobb, Queen Elizabeth and Harry S. Truman were among the many public figures that he photographed. Nat Fein won more press photo awards than any of his contemporaries. Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken "the most celebrated photograph in sports history." -- The New York Times, 1992. A resident of Tappan, New York, Fein died on September 26, 2000, at the age of 86.Source: Wikipedia Babe Bows Out", photograph of Babe Ruth during a ceremony at Yankee Stadium to retire his number, 13 June 1948 (This photo won the 1949 Pulitzer Prize for photography) © Nat Fein / Public Domain Babe Ruth’s dominating influence changed the game itself. He became the face of the New York Yankees and embodied the ethos of the game of baseball, American sports culture, and New York heritage. In Babe Bows Out photographer Nat Fein captures the beloved athlete and showman in an image that has become synonymous with the immensity of its subject. Nat Fein began to work for the New York Herald Tribune as a copyboy in 1932. After investing in a camera years later, he became a press photographer for the paper, creating a working relationship that lasted 33 years. While working as a staff photographer at the Tribune, Fein had not been assigned to work on the day that the New York Yankee’s would retire Babe Ruth’s number three jersey. On the day when the Yankees would celebrate the 25th anniversary of the Yankee stadium and retire “The Great Bambino’s” number, the mainstay sports photographer for the Tribune called in sick. Thus, on June 13 of 1948, Nat Fein was set out to cover what many suspected could be Babe Ruth’s last public appearance. While other press photographers attempted to capture a portrait of the great American baseball hero wearing his uniform one last time, Nat Fein, tried to capture the iconic number on his jersey, stating: “All the photographers were in the front, and I wanted to see how he looks from the back. So I figured, well, number three is out. The Babe bows out…” – Nat Fein The final image is filled with emotion, a bidding farewell to the greatest player in baseball. Among an interminable crowd of onlookers and accompanied by current Yankees players, Ruth bows out in the stage where his legendary mythology was created. At the time of the photograph in 1948, Babe Ruth had not played for the Yankees for over a decade. Ruth had also been ill for some time, and his appearance had changed; his thin legs and face showed signs of his fragile condition. Fein’s photograph, instead of highlighting the aged features of the passing of time or sickness, captures the silhouette of the baseball giant. The picture presenting Ruth with his classic number three jersey underlines the monumental influence he exuded over the game and New York. The image not only symbolizes a sports hero but a man who was larger than life. His rough childhood with frequent visits to orphanages and hospitals, his kindness to black baseball players in a time of racial inequity, his fondness to volunteer his time for kids sick with Polio, and his larger physique, generate empathy in his farewell photograph. The photograph presents a poetic image that connects us through its resounding human and empathetic quality, connecting the viewer to an unwavering American hero. Babe Bows Out eventually became the first sports photograph to win the Pulitzer Prize. It cemented the importance of the medium of photography. It is considered one of Time Magazine’s 100 most influential images of all time and is featured in the National Baseball Hall of Fame and the Smithsonian Institute. Never surrendering to sickness or ill-health, the photograph commemorates the hometown hero. It immortalizes the strong and imposing Babe Ruth as the towering figure we remember and speak of today. A man whose recognition has reigned supreme over baseball, New York, and the world of sports for over 100 years. Nat Fein’s Babe Bows Out is one of the most excellent images of baseball lore.Source: Holden Luntz Gallery
Attila Ataner
Canada/Turkey
I am of Turkish ancestry, but born in Svishtov, Bulgaria, a small town on the Danube river. During the 1980s, my parents and I lived in Triploi, Libya, where I attended an international school for the children of expats. There, I was introduced to photography by one of my all-time best, and favourite teachers. I have been an avid amateur photographer ever since. I currently live in Toronto, Canada, with my wife and two young children. I am formerly a practicing lawyer, however I recently returned to school to pursue a PhD degree in philosophy, with my focus being on environmental philosophy and legal and political theory. My current passion for photography, and the series of photos I have been working on more recently, is partly informed by my scholarly work on environmental issues. For instance, my series titled "Landscapes of Modernity" is an attempt to translate some of my philosophical ideas into a visual/photographic format. Landscapes of Modernity This series of phots is, in part, an attempt to translate some of my academic work on environmental philosophy into visual/photographic format, an effort to express my ideas through art rather than scholarship alone. My overall project aims to reflect on the contemporary experience of dwelling in extensively built-up, "artificial" spaces. Our ancestors lived in spaces pervaded by natural landscapes, by mountains, valleys, by open skies, and the like. They were surrounded by spontaneous, self-generating, self-sustaining (i.e., so-called "natural") entities. Conversely, consequent to modernity, our visual landscapes are now largely colonized by massive, cuboid, monolithic structures; and by constricted, disrupted or otherwise occluded skies. Above all, we have surrounded ourselves with a seemingly endless array of almost exclusively human-made constructs. This is the central contrast between modernity and the modes of dwelling of our ancestors. ... And here, in this modern moment, we find astounding beauty mixed with a certain apprehension, oppressiveness and brutality - for instance, as is exemplified by the staggering scale of the seemingly omnipresent and ever-expanding character of the structures that now envelop and enframe our lives. I hope my photos manage to capture this duality in the contemporary urban landscape.
Rachel Nixon
United Kingdom/Canada
Rachel Nixon is a British-Canadian fine art photographer – and former journalist – based in Vancouver. Having lived and worked across continents and cultures, she explores issues such as a desire for connection with one’s heritage, as well as secrecy, isolation and memory. She is intrigued by the visual poetry of everyday life and intuitively seeks out images speaking to beauty and broader messages in the seemingly mundane. In 2019, Rachel graduated with honours from the VanArts professional photography program. Since then, her work has been exhibited nationally and internationally, and she has received a number of accolades including being a four-time category winner in the Julia Margaret Cameron Awards. In 2024, she was named among Dodho Magazine’s top 100 fine art photographers. Rachel has earned attention for her series ''The Garden of Maggie Victoria'', which revives the story of her forgotten great-grandmother through collages integrating archive and contemporary images. In 2023, the series was selected for Blue Sky Gallery’s Pacific Northwest Drawers, and designated a finalist in Critical Mass and the Royal Photographic Society’s IPE 165. Before committing full-time to visual art, Rachel had a 20-year career as a journalist in the UK, US and Canada for the BBC, CBC and Microsoft where she developed and ran digital news services that reached millions. Her passion for storytelling, love of innovation and experimentation, and drive for excellence now extend to her photographic work. Rachel holds a first-class degree from the University of Oxford in Modern Languages. Her wide-ranging international experience offers a unique perspective on identity, place and belonging, and the connections we share despite polarized times.
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