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Marios Forsos
Marios Forsos
Marios Forsos

Marios Forsos

Country: Greece
Birth: 1971

I am a travel and assignment photographer and storyteller working to bring faraway interesting stories to life. I try to venture beyond simply pretty isolated images to evoke emotion and real interest into the lives and stories of the people in my images, hoping my audience will stop and look closer, empathise with the people in each frame.

After more than 100 countries (and growing), hundreds of different and challenging assignments - some good and very successful, some unavoidably less so - many international awards and the incredible good fortune of having worked for the amazingly talented and passionate people over at National Geographic, Lonely Planet, Conde Nast Traveller, GEO and many other, I hope my images bring with them a different, more paced, thoughtful and stylised approach to storytelling.

We need to grow closer, not grow our distance the way modern fast-food, social-media driven image consumption drives us towards. To learn how to live together with knowledge and compassion for peoples both near and far, to be sensitive to cultures and customs not our own but beautiful and worth preserving all the same. I want my images to tell the story of a Turkana woman the same way it tells the story of the Malian wood scavenger or a french farmer because they are all a part of this amazing, beautiful, infuriating overpopulated, largely polluted world of ours and its people.

Websites

www.mariosforsos.com

@marios.forsos.photography

 

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More Great Photographers To Discover

Daniel Sackheim
Daniel Sackheim
United States
1962
Daniel Sackheim, born in 1962 in Los Angeles, California, is a photographer and film and television director and producer living and working in Los Angeles. As a director, Sackheim is best known for his work on multiple highly acclaimed television series. Some of his directorial credits include: Game of Thrones, True Detective, The Americans, The Walking Dead, Jack Ryan, Servant, Better Call Saul, The Leftovers, The Man in the High Castle, Ozark, and more recently Lovecraft Country. He has received multiple Emmy nominations, more recently in 2017 for directing the Ozark episode "Tonight We Improvise," which is a category he won in 1997 for an episode of NYPD Blue. In addition to his television work, Sackheim directed the Sony feature film, The Glass House, starring Leelee Sobieski, Diane Lane, and Stellan Skarsgard, and he produced the film, The X-Files: Fight the Future, for 20th Century Fox. Alongside fellow HBO alum Tony To, Sackheim is the co-founder of Bedrock Entertainment, which produces prestige content programming streamers and premium cable platforms. Sackheim's photographic practice translates the filmic league of his career into still photography that explores the nature of mystery, urban environments, and narrative ambiguity. His attraction to spaces dominated by shadows stems from his love of film noir and its predilection for heightened reality. A member of a number of photography centers, he is also a curator for www.streetfinder.site which is a growing community for street photography. Statement A camera is like a keyhole through which one can peer into dark spaces in search of a hidden narrative I've come to define as the unknown. Using photography, I am endeavoring to shine a light on that narrative, bringing it into sharper relief. My work occupies a space dominated by shadows. This attraction to the dark and ambiguous stems from my love of film noir and the heightened reality this filmic language personifies. Like noir, my photography aims to access the subconscious, exploring a world of omnipresent solitude and alienation. Article Exclusive Interview with Daniel Sackheim
Laurin Strele
Laurin Strele
Austria
1992
Laurin Strele is an Austrian-born photojournalist and Leica Ambassador known for his intimate portrayals of life in conflict-affected regions. His work focuses on human endurance and identity in the face of political and social upheaval. He has documented stories across Syria, Ukraine, Lebanon, and beyond, publishing in outlets such as GEO and Newsweek. Statement: My photography seeks to reveal the humanity and resilience that endure even in the most fragile contexts. Through color, texture, and silence, I aim to portray how people reclaim meaning and dignity in everyday life.
Tatiana Wills
Tatiana Wills
United States
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Tatiana Wills is an artist photographing creatives, highlighting the personality behind the artistic practice. Over the course of her multifaceted career, Wills ran the photo department at a notable entertainment agency in Los Angeles. While spearheading guerrilla marketing campaigns, her longing to be a part of a burgeoning art community was reignited, and she embarked on a personal project about the outsider art scene of the early aughts. She has photographed the likes of Shepard Fairey, Mister Cartoon, Gabrielle Bell, David Choe, Saber One, and Molly Crabapple. Other series in her vast repertoire include notable dancers and choreographers Kyle Abraham, Lucinda Childs, Jacob Jonas, and Michaela Taylor, along with a multitude of dance artists, all of which is inspired through a lifetime of documenting her daughter, Lily, and witnessing her journey to become a professional ballerina. Her photography book, Heroes & Villains: Portraits of Contemporary Artists, with Roman Cho, is a collection of portraits featuring more than 100 of the most iconic figures in the contemporary creative world. Her work has appeared in numerous major magazines, including GQ, Time, Juxtapoz, Nylon, IdN, LALA Magazine, on the silver screen in Banksy's street art documentary, Exit Through the Gift Shop, and on street banners in New York City and throughout Europe. She has exhibited in several galleries winning several awards along the way. She currently lives and works in Los Angeles, California. Statement To look at another person with intention is to engage in a moment of pure vulnerability. Especially now. There is so much available to us that shapes how we present and form ourselves for others that much of what constitutes us is also based on performance. My work is about looking past these performances and arriving at a kind of unvarnished selfhood. Portraiture has a long and complex history with representation, but, no matter its form, it is also uncompromising in its commitment to exploring what makes us us. Our appearances and our gestures, how we occupy space in the world. It is a way of looking not only at ourselves but viewing each other as well, a nexus between private and public, interior and exterior, approachability and distance. As someone deeply invested in and inspired by other artists in various fields, my current project has led to photographing creatives whose work often takes precedence over their own being. This project has culminated in my exploration of dancers, who, by the very nature of their field, are usually looked upon solely for the dexterity of their bodies and the ways in which those bodies can perform. My work pares them back, peeling away the performative qualities that usually define them, to arrive at that moment of vulnerability where they are free to be themselves in a new limelight. Exclusive Interview with Tatiana Wills
Fern L. Nesson
Fern L. Nesson
United States
Fern L. Nesson is a graduate of Harvard Law School. She received an M.A. in American History from Brandeis and an M.F.A in Photography from the Maine Media College. She lives in Cambridge, Massachusetts. She practiced law in Boston for twenty years and subsequently taught American History and Mathematics. Nesson's photographs have been shown internationally in solo exhibitions at the Politecnico University in Torino, Italy, Les Rencontres de la Photographie in Arles, France, Ph21 Gallery in Budapest, Hungary and at The University of the West Indies in Kingston, Jamaica. In the United States, Nesson has had solo exhibitions at the Griffin Museum of Photography, at MIT and Harvard, and at the Beacon Gallery in Boston, Massachusetts, the Pascal Gallery in Rockport, and Maine, and Through This Lens Gallery in Durham, NC. Additionally, her work has been selected for numerous juried exhibitions in the U.S., Barcelona, Rome and Budapest. Nesson's photobooks, Signet of Eternity and WORD, won the 10th and the 12th Annual Photobooks Award from the Davis-Orton Gallery. Her photography can be found at www.fernlnesson. Statement ''Art should not be copies of living things but... [itself] be [a] living thing – a real living form.'' Malevich (1916) My photographs capture the moment when mass becomes energy. My goal is to create living works of art that offer energy to the viewer. I shoot from reality; my images are never constructed, only sparingly edited. They distill a scene or an object it to its essence. Photographs that embody energy rely upon the camera to record a specific moment but, if they hit their mark, they escape and float free of it. The energy from the moment of capture enlivens these images. Like Cezanne's paintings, they are alive, they breathe. An energetic image expresses interconnectedness, visualizes movement and flow. It constitutes a moment of transcendence and teaches us that, although everything changes form, nothing is ever destroyed. It lives on, resonating with the past, celebrating the present, pointing to the future, embodying the universal, iconically representing the eternal. As Whitman’s wrote in Leaves of Grass, it can “chant the [viewer] into a new state of being, get him psychically airborne, boost him up to that height where he can identify with the past and commune with the future.”
Lewis Carroll
Lewis Carroll
United Kingdom
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Bill Burke
Bill Burke
United States
1943
William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighboring countries, detailing the effects of war. Bill Burke was born in 1943 in Derby, Connecticut. In 1966, he received a B.A. degree in Art History from Middlebury College. He continued studies at Rhode Island School of Design (RISD), and received a B.F.A degree in 1968 and a MFA degree in 1970, while studying with photographer Harry Callahan. In 1971, he started teaching at the School of the Museum of Fine Arts in Boston. In 1978, he became a Guggenheim fellow in photography. His work is included in many public collections including the Smithsonian American Art Museum, San Francisco Museum of Modern Art, Princeton University Art Museum, Museum of Modern Art, Museum of Fine Arts, Boston, among others.Source: Wikipedia Since 1971 he has taught at the School of the Museum of Fine Arts in Boston. While he has contributed to the Christian Science Monitor and published his work in Fortune and Esquire, Burke prefers to present personal travelogue images in series in books and exhibitions. His monographs include They Shall Cast Out Demons (1983), Bill Burke Portraits (1987), I Want to Take Picture (1987), and Mine Fields (1994). He has exhibited alone and in groups at ICP and elsewhere. Bill Burke, who failed his draft physical, was spared the experience of many of his contemporaries who fought in the Vietnam War. Since the 1970s he has photographed his travels through Asia not to document military atrocities, but to record his personal reactions. His work reflects a fascination with historical events and sites, yet his interest is broader than the topical documentation of photojournalism. The independent spirit of works such as Robert Frank's The Americans (1959) informs Burke's approach to his subjects: he recognizes his outsider status, and the black-and-white photographs of his many trips to Cambodia are as much about the personal impact and experience of being a witness as they are about the cultures he visits. This visitor status is important: Burke makes no pretense trying to develop a photo essay with political overtones, in the tradition of American documentary photography of the 1930s.Source: International Center of Photography
Lisa McCord
Lisa McCord
United States
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Lisa McCord is a fine art and documentary photographer from the Arkansas Delta who lives and works in Los Angeles and Arkansas. Focusing on her experiences on her family's cotton farm, her creative practice explores concepts of storytelling, memory, and the passage of time. McCord received her BFA from San Francisco Art Institute and earned an MFA from California Institute of the Arts. She also attended New York University, Le Contrejour, Paris, and The Visual Studies Workshop, Rochester, NY. She taught photography at several high schools and universities in the LA area including Pepperdine University. She has exhibited her work in galleries and museums internationally, including SoHo Photo Gallery and Carrie Able Gallery in New York; Center for Fine Art Photography in Fort Collins; Bruce Lurie Gallery, Building Bridges Art Exchange, Classic Photographs Los Angeles, and the Annenberg Space for Photography Museum in Los Angeles; FotoFever in Paris, and the Museum of Nature of Cantabria. McCord's work has been shown in in solo exhibitions at Fabrik Projects, Gallery 825, the Memphis Cotton Museum, Slow Exposures, and Leica Gallery LA in 2023. Her work has been featured in numerous publications including Black & White Photography (UK edition), Float Magazine, and Feature Shoot. She was a Critical Mass Finalist in 2015, 2016, and 2021. McCord's work is in the permanent collections of the Arkansas Museum of Fine Arts and the Memphis Brooks Museum of Art. ROTAN SWITCH 1978 - Present I began documenting life on my grandparents' cotton farm in 1978 when I was twenty-one. After forty years, I have come to realize all my photographs taken here are explorations of home, an idea that remains firmly rooted in the Arkansas land and people. I've also come to realize that the place I call home is not perfect. Rotan Switch takes its name from the community's central landmark - the railroad switch where farmers loaded their cotton bales onto trains headed out of the Delta. Although it hasn't been used in years, it remains a potent symbol of the complex intersections of industry and agriculture, of race and injustice. I realize the photographs are complicated when seen in the context of the socioeconomic structures of the rural South. Although the subjects are family to me, as a white photographer and the granddaughter of a farm owner, my photographs of the Black community implicate my own role in reinforcing these power structures. Coupled with the images, my own memories, as well as reflections by the subjects and their families, tell the story of Rotan and the Arkansas Delta's culture through the lens of personal experience. This combination of image and storytelling seeks to paint a fuller picture of a place with a complicated history that cannot be left unacknowledged if the project hopes to create a genuine empathetic encounter between the viewer and the subjects.
Morteza Nikoubazl
Morteza Nikoubazl
Iran
1974
I was born in Tehran, Iran in 1974 and studied art and photography there. I started work as a freelance photographer for Iranian daily and weekly newspapers. I began working with the Reuters team as Freelance photographer since 1999 till 2013. After Reuters I worked with the New York Times International magazine, Polaris Images, Zuma Press and SIPA PRESS photo agencies and now I am working with the NurPhoto press photo agency. I am also UNHCR trusted photographer in Iran. Sense of death amid the COVID-19 outbreak in Iran Today is about one year after Government announced officially the COVID-19 cases in Iran and death still is everywhere. I could see patients who were infected by the new coronavirus in COVID-19 wards of hospitals who were breathing and after two hours they were died. In fact, life seems gone, time were stoped and people were looking for an empty hospital bed for their relatives. Sense of death is covered the daily life of people who have to fight with a new invisible enemy, and it will be getting worse when a country is under International sanctions. I was in the city of Bam for covering the earthquake in 2002-2003 and could see a U.S. Military cargo airplane landed after about 25 years since the Victory of the Islamic Revolution in Iran and I could see how the humanity could pass over the politic, but today I am witness how politic cover the humanity, sanctions still work and it pushed Iran to the end of the line of vaccine. People die left and right also medical personnel, But they hear about barriers to the import of the COVID-19 vaccines from western countries. When it comes to people's health, politics should be the last priority of countries, but it seems the politic is the first priority for the U.S., Iran and the European countries. On the other hand, Iranians cannot trust the China- Made, or Russian-Made vaccine and prefer the Iranian one, but they must wait until next year and try to be alive.
Tamas Dezso
Tamas Dezso
Hungary
1978
Tamas Dezso (b.1978) is a documentary fine art photographer working on long-term projects focusing on the margins of society in Hungary, Romania, and other parts of Eastern Europe. His work has been exhibited worldwide, with solo exhibitions in 2011 in Poland, Bangladesh, Budapest, New Mexico, and at the Robert Koch Gallery in San Francisco, and recent exhibitions at the New York Photo Festival, Shanghai Museum of Contemporary Art, and FOAM Photo Museum in Amsterdam. He was twice Hungarian Press Photo’s Photographer of the Year (2005 and 2006), and has received awards from organizations such as World Press Photo, Pictures of the Year International, NPPA’s Best of Photojournalism, and PDN. His photographs have appeared in TIME magazine, The New York Times, National Geographic, GEO, Le Monde magazine, and many others. Dezso has recently been nominated for the 2012 Prix Pictet. Tamas Dezso's series 'Here, Anywhere' offers a desolate yet beautiful look at the people and places left behind during the post-communist transition in Hungary. Begun in 2009, the series explores the unique atmosphere of the country's now 20-year-long transition, and changing notions of Eastern European identity. With the introduction of democracy in the 1990s came euphoria and promise, but unrealized expectations of quickly catching up with the West have led to widespread disappointment and frustration, compounded by the current serious economic difficulties have fanned the popularity of far right politics, as well as an anachronistic nostalgia for the stability of communism. Presently Hungary has a right wing populist government and the strongest opposition party is the neo-Nazi party with nearly 1/8th of the eligible voters and gaining popularity. Dezso's layered images present unsettling moments of stillness that poetically allude to this gritty reality. Motivated by the isolation he sees his country facing, Dezso photographs the people and places of Hungary as symbols, where "a certain out-dated, awkward, longed-to-be-forgotten Eastern Europeanness still lingers." This award-winning series has garnered international attention, earning Dezso First Place at the 2011 CENTER Project Competition in Santa Fe, the Daylight Magazine & Center for Documentary Studies Project Prize, and Grand Prize at the Jeune Création Européenne Biennal 2011/2013 in Paris-Montrouge.Source: Robert Koch Gallery Interview with Tamas Dezso All About Photo: When did you realize you wanted to be a photographer? Tamas Dezso: Soon after I left the University of Technology in Budapest in 2000. AAP: Where did you study photography? TD: I am self-taught. AAP: How long have you been a photographer? TD: I started as a photojournalist with a political daily in 2000. AAP: What or who inspires you? TD: Music. Beethoven, Bach and Mozart. AAP: How could you describe your style? TD: Documentary. AAP: Do you have a favorite photograph or series? TD: Richard Avedon 'Italy #9', 'Boy and Tree, Sicily, July 15, 1947' AAP: What kind of gear do you use? Camera, lens, digital, film? TD: Phase One cameras with various Schneider Kreuznach lenses. AAP: Favorite(s) photographer(s)? TD: Richard Avedon and Irving Penn AAP: What advice would you give a young photographer? TD: "Follow the advice of others only in the rarest cases." -- Beethoven AAP: What are your projects? TD: I am interested in the transitional period, the period after the fall of communism in Eastern Europe. AAP: Your best memory as a photographer? TD: My first trip to Romania. AAP:If you were someone else who would it be? TD: A pianist. AAP: Your favorite photo book? TD: Walter Niedermayr's Civil Operations.
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Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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