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Syed Mahabubul Kader
Syed Mahabubul Kader
Syed Mahabubul Kader

Syed Mahabubul Kader

Country: Bangladesh
Birth: 1985

Syed Mahabubul Kader, born and brought up in Dhaka, Bangladesh. I am an independent photojournalist with a 14-year career documenting political issues, social issues and cultural events. As a contributing photographer at Zuma Press, my work has been featured in major publications worldwide, including National Geographic, The Mail, The Times, The Courier, The Guardian, The Wall Street Journal, La Vie Magazine and many others. My award-winning images have been exhibited globally, showcasing my dedication to capturing the essence of human experience.

Websites

syedmahabubulkader.com

@syedmahabubulkader

 

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More Great Photographers To Discover

Mohammad Foisal
Mohammad Foisal
Bangladesh
1991
My name is Mohammad Shahriar Foisal Jitu. I am a 34-year-old photographer & visual story-teller from Chittagong, Bangladesh. I used to capture photographs in my mobile during my studies in college. Later, what started as a hobby quickly transformed into an all-consuming passion that has come to define every aspect of my life. Photography has now become my therapy, allowing me to turn pain into beauty and challenges into strength. Each time I click the shutter, I discover a world through the lens that brings light even in my darkest moments. Artist Statement: As a freelance photographer from Bangladesh, I use photography as a tool of exploration to observe, understand, and connect with the world around me. My work is rooted in curiosity and guided by a deep commitment to human stories. Through vivid compositions and spontaneous moments, I aim to document the nuances of everyday life, capturing both the resilience and quiet poetry of the people and places I encounter. Street corners, rural alleys, and fleeting glances become visual narratives in my work- each frame a testament to life unfolding in real time. I approach photography not merely as a means of documentation, but as a way to awaken empathy and reflect shared humanity. Being selected as one of the winners of the All About Photo Awards 2025 is a profound honor and an encouragement to continue telling honest, unfiltered stories that might otherwise go unnoticed.
Matteo Bastianelli
Matteo Bastianelli
Italy
1985
Matteo Bastianelli (b. 1985) is a documentary photographer and filmmaker based in the Metropolitan City of Rome, Italy. He is a National Geographic Magazine contributor and a member of Italy's National Order of Journalists. Above all he works on personal projects and commissions related to social, environmental and human rights issues with a keen interest in the themes of memory, identity, inclusion and sustainability. His photographic and film projects have been regularly published and commissioned by Al Jazeera, CNN, Internazionale, The New York Times, National Geographic, Newsweek, The Guardian, Voice of America, Washington Post, among others. Since 2016 he has also been working on commission for NGOs such as Amnesty International, AVSI, Doctors Without Borders/MSF, Human Rights Watch and International Committee of the Red Cross. His projects have been widely shown in group and solo exhibitions and screenings around the world. A selection of Bastianelli’s accolades includes National Geographic Society’s Covid-19 Emergency Fund for Journalists, Emerging Talent Award at Reportage by Getty Images, AP32- American Photography Awards, PDN’s Photo Annual, Canon Young Photographers’ Award, Italian Doc Screenings Development Award for best documentary film and "Vittorio de Seta" prize for the director of the best documentary film at BIF&ST. He spent almost five years working in the former Yugoslavia, where he produced his early series. In 2012 was released his first monograph and documentary film, "The Bosnian Identity". In 2013 he started working on "Souls of Syrians", an ongoing project which stems from the concern to document the personal story of a Syrian youth who fled his country in search of salvation in Europe. In 2018 Bastianelli documented the world’s worst humanitarian disaster caused by the ongoing civil war in Yemen, focusing his attention on the resilience of civilians trapped in a life of violence and disease. His documentary film "Yemen Unveiled" was screened during the 2019 Human Rights Film Festival in Berlin, Germany and has been included in the Official Selection of the Health for All Film Festival 2020, organized by the World Health Organization in Geneva. In recent years, he has been continuing his research work on personal and small stories that, by synecdoche, represent a mosaic of contemporary history: from immigration to climate change, from social inclusion to the metamorphosis of the contemporary landscape. Movies:The Bosnian IdentityMal di Mare
Jordon McGhee
Jordon McGhee
United Kingdom
1986
Jordon McGhee (United Kingdom) is an artist who mainly works with photography. By rejecting an objective truth and global cultural narratives, McGhee creates with daily, recognisable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and his views on his stay in Jeddah. His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is free spirited yet systematic with a cool and neutral imagery used. His collection of work from Jeddah urges us to renegotiate photography as being part of a reactive or - at times - documentary medium, commenting on oppressing themes in our contemporary society. With Plato's allegory of the cave in mind, he makes work that deals with the documentation of events and the question of how they can be presented. His work of Jeddah expresses this in detailed portraiture. His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realised in photography.
Erik Hadife
Erik Hadife
Lebanon
1998
Erik Hadife (b. 1998) is a Lebanese street photographer and filmmaker whose work explores the quiet strangeness of urban life at night. After studying at LSE and MIT, and working in strategy consulting in New York, he left the corporate world to focus fully on his practice. Hadife’s latest work responds to cities that move faster than our ability to notice them. In public spaces shaped by speed, his images slow the pace, drawing attention to fleeting interactions and unguarded moments caught in artificial light. His work has been exhibited internationally, including in New York, Venice, Athens, and Beirut. Statement Erik Hadife photographs cities at night, drawn to the quiet moments where something subtle shifts – where the ordinary starts to feel slightly off, and a glance or gesture reveals something beneath the surface. He works instinctively, following artificial light as it cuts through the dark, isolating people and briefly pulling them into focus before they disappear again. His work lingers on a tension at the heart of urban life: being surrounded, yet alone. These images hold on to fleeting encounters – where people cross paths without really meeting – and sit in that strange space between who we are and the environments we’ve built around us. Awarded Photographer of the Week - Week 14, 2026
Francis Haar
Francis Haar
Hungary
1908 | † 1997
Francis Haar born as Haár Ferenc was a Hungarian socio-photographer. He studied interior architecture at Hungarian Royal National School of Arts and Crafts between 1924 and 1927. His master was Gyula Kaesz.He started working as an interior architect and poster designer in 1928, and taught himself photography. In 1930 he became acquainted with Munka-kör (Work Circle) led by socialist avant-garde poet and visual artist Lajos Kassák, who just returned from Vienna. Kassák pointed out that the photography is more than the painting and can access to such part of reality that cannot be accessed by painters. Kassák's motto was photography is the real child of our age not the painting. That was a life long inspiration to Francis. He became an active and leading member of the Munka Kör, his partners in socio-photography were among others Sándor Gönci, Árpád Szélpál and Lajos Lengyel, who later became renowned graphic artist and book designer. The first socio photo exhibition ever in Hungary was held in 1932, which brought the first success to Francis. His first photo studio was opened in Budapest in 1934. Some of his photos were exhibited at the Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne in 1937, so Francis Haar decided to move to Paris where he established himself as a portrait photographer. However in 1939 he was invited by Hiroshi Kawazoe to Japan and the International Cultural Society of Japan (Kokusai Bunka Shinkokai) officially arranged his trip. With help of Japanese friends he opened and operated his photo studio in Tokyo between 1940 and 42. The Haar family was evacuated to Karuizawa in 1943 and they spent 3 years there. He became the photographer of Yank, the Army Weekly magazine of the U.S. occupation forces in Japan, and subsequently filmmaker with U.S. Public Health and Welfare Section (1946-48). Again his Tokyo photo studio was opened in 1946 and was in active business until 1956. His wife Irene opened the famous restaurant Irene's Hungaria in Ginza, downtown Tokyo, which was frequented by celebrities, intellectuals, army men and sports people from all over the world besides the Japanese. Accepting a challenge he moved and worked as photographer for the Container Corporation of America, Chicago from 1956 until 1959. He returned to Tokyo and operated his photo studio again for a year. 1960 brought a great decision and the Haars moved to Hawai'i and Francis started his photo studio there. He taught photography at the University of Hawai'i between 1965 and 1985. He became the production photographer for the Kennedy Theater, the University of Hawai'i Drama Department. Francis Haar died at the age of 89 in Honolulu.Source: Wikipedia
Joanna Borowiec
Joanna Borowiec
Poland
1971
Joanna Borowiec, a graduate of the European Academy of Photography in Warsaw, diploma thesis in the Creative and Expressive Photography Workshop, Dr Izabela Jaroszewska. Member of the Association of Polish Art Photographers (ZPAF). Scholarship holder of the Ministry of Culture and National Heritage 2020. Photography Workshop. Enthusiast of medium- and large-format analogue photography. Uses historic photographic processes like ambrotype – wet collodion technique, cyanotype e.c.t. The main topic of her photos is humanistic photography, human. Winner International Photography Awards IPA 2021- category Deeper Perspective Photographer of the Year. She was also awarded the third place in Photographer of the Year category of the Black& White Spider Awards competition. Prize-winner of the Portfolio Black + White Photography UK, the Portfolio Black & White for Collectors Of Fine Photography Canada, the Portfolio 2012 Shot Magazine USA. Her works and interviews with her were published in many magazines, i.a. the Black+ White Photography UK (the cover), the Shot Magazine USA, the Black and White Magazine Canada and in national magazines. Her photographs can be found in public and private collections at home and abroad, i.a. in Switzerland, Spain, Italy, Sweden, USA e.c.t. She has participated in individual and collective exhibitions at home and abroad, i.a. in Poland, Germany, Spain, Singapore, Canada, USA e.c.t. Blue Story Many of my cyanotypes are created by layering a combination of objects and film imagery with carefully timed light exposures for a depth of blue/indigo colors. Inspired by nature and how we interact with it, I arrange natural objects such as leaves, flowers and vines with human made objects or images of objects. I choose to work with cyanotypes "live", in sunlight for the spontaneity of arranging the objects and often have a general idea of what I want to do allowing for of-the-minute additions and subtractions of objects and timing of exposures. I sometimes add acryl paint, or colored pencil to a washed and dried print. Cyanotype is a contact print process using treated, UV light sensitive paper. It results in a Prussian blue final print. Also known as photogram, sun print. The English scientist and astronomer Sir John Herschel discovered this procedure in 1842. (...) Due to the coating and printing process Cyanotypes are always non reproducible unique items in itself. Dreams Unfinished It is a story about pain, love and longing. The photos were taken after the death of my father. He passed away suddenly in his sleep. I could not understand what happened, to come to terms with the loss. I looked for him everywhere and imagined he was asleep and dreaming. As a result, I have contact with him in the dream world he is with me. Works depict dreams, motifs, shards of memories which probably appear in everyone's dreams. Dreams - eternal companions of human life - encourage us to analyse our own experiences and understand our fate. They enable us to bring to surface deeply hidden secrets and go beyond the earthly matters. These records are born out of imagination and perishable ephemeral memory. They are not meant to be unambiguous; they should leave the door open for free interpretation and free reading to enable everyone to supplement them with their own story. Glass Faces "The eyes and faces all turned themselves towards me, and guiding myself by them, as by a magical thread, I stepped into the room" Sylvia Plath Glass Faces present unique, enchanting, climatic and hypnotising portraits. Bewitching with natural beauty and somewhat unreal, mysterious, silent and oozing various emotions. Faces of friends and people we have just met. Ambrotypes - positive images created on a sheet of glass using the 19th century wet collodion process - are the vital element of the project. The ambrotype is inimitable. You may try to reproduce it, but a piece created on black glass remains unique. Ambrotype - Ambrotos means immortal... I was born in a camp The story of Jan Chmiel, who was born in the Waltrop forced labor camp - a city in western Germany. According to a record issued by a German official, he was born in 1944. , according to information provided by the mother in 1942. Of the 143 children captured in the Waltrop camp, three survived, including Jan.
Minor White
Minor White
United States
1908 | † 1976
Minor Martin White was an American photographer, theoretician, critic and educator. He combined an intense interest in how people viewed and understood photographs with a personal vision that was guided by a variety of spiritual and intellectual philosophies. Starting in Oregon in 1937 and continuing until he died in 1976, White made thousands of black-and-white and color photographs of landscapes, people and abstract subject matter, created with both technical mastery and a strong visual sense of light and shadow. He taught many classes, workshops and retreats on photography at the California School of Fine Arts, Rochester Institute of Technology, Massachusetts Institute of Technology, other schools, and in his own home. He lived much of his life as a closeted gay man, afraid to express himself publicly for fear of loss of his teaching jobs, and some of his most compelling images are figure studies of men whom he taught or with whom he had relationships. He helped start and for many years was editor of the photography magazine Aperture. After his death in 1976, White was hailed as one of America's greatest photographers. White was born in Minneapolis, Minnesota, the only child of Charles Henry White, a bookkeeper, and Florence May White, a dressmaker. His first name came from his great, great grandfather from the White family side, and his middle name was his mother's maiden name. During his early years he spent much of his time with his grandparents. His grandfather, George Martin, was an amateur photographer and gave White his first camera in 1915. As a child White enjoyed playing in the large garden at his grandparents' home, and this influenced his decision later on to study botany in college. White's parents went through a series of separations starting in 1916, and during those periods White lived with his mother and her parents. His parents reconciled for a while in 1922 and remained together until they divorced in 1929. By the time White graduated from high school he was already aware of his latent homosexuality. In 1927 he wrote about his feelings for men in his diary, and to his dismay his parents read his diary without his permission. After what he called a brief crisis period, during which he left home for the summer, he returned to live with his family while he started college. His parents never spoke of his homosexuality again. White entered the University of Minnesota in 1927 and majored in botany. By the time he should have graduated in 1931 he had not met the requirements for a science degree, and he left the university for a while. During this period he became very interested in writing, and he started a personal journal that he called "Memorable Fancies." In it he wrote poems, intimate thoughts about his life and his struggles with his sexuality, excerpts from letters that he wrote to others, occasional diary-like entries about his daily life, and, later on, extensive notes about his photography. He continued to fill the pages of his journal until he directed most of his energy into teaching around 1970. In 1932 White re-entered the university and studied both writing and botany. With his previous credits, he was able to graduate in 1934. The next year he took some graduate classes in botany, but after six months he decided that he lacked real interest in becoming a scientist. He spent the next two years doing odd jobs and exploring his writing skills. During this period he began creating a set of 100 sonnets on the theme of sexual love, his first attempt at grouping his creative output. In late 1937 White decided to move to Seattle. He purchased a 35mm Argus camera and took a bus trip across country toward his destination. He stopped in Portland, Oregon, on his way and decided to stay there. For the next 2-1/2 years he lived at the YMCA in Portland while he explored photography in depth for the first time. It was at the YMCA that he taught his first class in photography, to a small group of young adults. He also joined the Oregon Camera Club in order to learn about how photographers talk about their own images and what photography means to them. White was offered a job in 1938 as photographer for the Oregon Art Project, which was funded by the Works Progress Administration. One of his tasks was to photograph historic buildings in downtown Portland before they were demolished for a new riverfront development. At this same time he made publicity photos for the Portland Civic Theater, documenting their plays and taking portraits of the actors and actresses. In 1940 White was hired to teach photography at the La Grande Art Center in eastern Oregon. He quickly became immersed in his work and taught classes three days a week, lectured on art of local students, reviewed exhibitions for the local newspaper and delivered a weekly radio broadcast about activities at the Art Center. In his spare time he traveled throughout the region, taking photographs of the landscape, farms and small town buildings. He also wrote his first article on photography, "When is Photography Creative?," which was published in American Photography magazine two years later. White resigned from the Art Center in late 1941 and returned to Portland where he intended to start a commercial photography business. That year three of his photographs were accepted by the Museum of Modern Art in New York for inclusion in their "Image of Freedom" exhibition. At the close of the exhibition the museum purchased all three prints, the first time his images entered a public collection. The following year the Portland Art Museum gave White his first one-man show, exhibiting four series of photos he made while in eastern Oregon. He wrote in his journal that with that show "a period came to a close." In April 1942 White was drafted into the United States Army and hid his homosexuality from the recruiters. Before leaving Portland he left most of his negatives of historic Portland buildings with the Oregon Historical Society. White spent the first two years of World War II in Hawaii and in Australia, and later he became Chief of the Divisional Intelligence Branch in the southern Philippines. During this period he rarely photographed, choosing instead to write poetry and extended verse. Three of his longer poems, "Elegies," "Free Verse for the Freedom of Speech," and "Minor Testament," spoke to his experiences during the war and to the bonds of men under extreme conditions. Later he would use some of the text from "Minor Testament" in his photographic sequence Amputations. After the war White traveled to New York City and enrolled in Columbia University. While in New York he met and became close friends with Beaumont and Nancy Newhall, who were working in the newly formed photography department at the Museum of Modern Art. White was offered a job as photographer for the museum and spent many hours talking with and learning from Nancy Newhall, who he said strongly influenced his thinking about and his direction in photography. In February 1946 White had the first of several meetings with photographer Alfred Stieglitz in New York. White knew of Stieglitz's deep understanding of photography from his various writings, and through their conversations White adopted much of Stieglitz's theory of equivalence, where the image stands for something other than the subject matter, and his use of sequencing pictorial imagery. At one of their meetings White wrote in his journal that he expressed his doubt that he was ready to become a serious photographer. He wrote that Stieglitz asked him "Have you ever been in love?" White answered "yes," and Stieglitz replied "Then you can photograph." During this time, White met and became friends with some of the major photographers of the time, including Berenice Abbott, Edward Steichen, Paul Strand, Edward Weston, and Harry Callahan. Steichen, who was director of the photography department at the Museum of Modern Art, offered White a curatorial position at the museum, but instead White accepted an offer from Ansel Adams to assist him at the newly created photography department at the California School of Fine Arts (CSFA) in San Francisco. White moved to San Francisco in July and lived in the same house as Adams for several years. While there Adams taught White about his Zone System method of exposing and developing negatives, which White used extensively in his own work. He wrote extensively about it, published a book and taught the exposure and development method as well as the practice of (pre)-visualization to his students. While in San Francisco White became close friends with Edward Weston in Carmel, and for the remainder of his life Weston had a profound influence on White's photography and philosophy. Later he said ...Stieglitz, Weston and Ansel all gave me exactly what I needed at that time. I took one thing from each: technique from Ansel, the love of nature from Weston, and from Stieglitz the affirmation that I was alive and I could photograph. Over the next several years White spent a great deal of time photographing at Point Lobos, the site of some of Weston's most famous images, approaching many of the same subjects with entirely different viewpoints and creative purposes. By mid-1947 White was the primary teacher at CSFA and had developed a three-year course that emphasized personal expressive photography. Over the next six years he brought in as teachers some of the best photographers of the time, including Imogen Cunningham, Lisette Model, and Dorothea Lange. During this time White created his first grouping of photos and text in a non-narrative form, a sequence he called Amputations. Although it was scheduled to be shown at the California Palace of the Legion of Honor, the exhibition was canceled because White refused to allow the photographs to be shown without text, which included some wording that expressed his ambiguity about America's post-war patriotism. From The Temptation of St. Anthony Is Mirrors (1948) The next three years were some of White's most prolific in terms of creative output. In addition to taking dozens of land- and waterscapes, he made dozens of photographs that evolved into some of his most compelling sequences. Three in particular showed his continuing struggles with his sexuality. Song Without Words, The Temptation of St. Anthony Is Mirrors, and Fifth Sequence/Portrait of a Young Man as Actor all depict "the emotional turmoil he feels over his love and desire for men." In 1949 White purchased a small Zeiss Ikonta camera and began a series of urban street photographs. Over the next four years he took nearly 6,000 images, all inspired by his newfound interest in the poetry of Walt Whitman. The project, which he called City of Surf, included photographs of San Francisco's Chinatown, the docks, people on the streets and various parades and fairs around town. The period of 1951-52 is one of the formative times in White's career. He participated in a Conference on Photography at the Aspen Institute, where the idea of creating a new journal of photography was discussed by Ansel Adams, Dorothea Lange, Beaumont and Nancy Newhall, Frederick Sommer and others. Soon after Aperture magazine was founded by many of these same individuals. White volunteered for and was approved as editor, and the first issue appeared in April 1952. Aperture quickly became one of the most influential magazines about photography, and White remained as editor until 1975. Near the end of 1952 White's father, from whom he had been estranged for many years, died in Long Beach, California. In 1953 Walter Chappell introduced White to the I Ching, an ancient Chinese book of philosophy and divination, and White continued to be influenced by and refer to this text throughout the rest of his life. He was especially intrigued by the concepts of yin and yang, in which apparently opposite or contrary forces may be conceived as complementary. Later that same year a reorganization at CSFS resulted in White's teaching role being cut back, and as a result he began to think about a change in his employment. Concurrently, Beaumont Newhall had recently become the curator at the George Eastman House in Rochester, New York, and Newhall invited White to work with him there as a curatorial assistant. He exhibited September 28 - November 3 1954 at Limelight Gallery in New York and was included in that gallery's Great Photographs at the end of that year.[16] Over the next three years White organized three themed exhibitions[where?] that demonstrated his particular interests: Camera Consciousness, The Pictorial Image and Lyrical and Accurate. In 1955 he joined the faculty at the Rochester Institute of Technology (RIT), where he taught one day a week. White's photographic output declined during this time due to his teaching and editorial work, but he continued to produce enough images that by the end of 1955 he had created a new sequence, Sequence 10/Rural Cathedrals, which included landscape images from upstate New York that were shot on regular and infrared film. By 1955 White was fully engaged in teaching, having been appointed as instructor at the new four-year photography program at RIT as well as conducting classes and workshops at Ohio University and Indiana University. Walter Chappell moved to Rochester later in the year to work at the George Eastman House. Chappell engaged White in long discussions about various Eastern religions and philosophies. White began practicing Zen meditation and adopted a Japanese style of decoration in his house. Over the next two years the discussions between White and Chappell metamorphosed into lengthy discourses about the writing and philosophy of George Gurdjieff. White gradually became an adherent of Gurdjieff's teachings and started to incorporate Gurdjieff's thinking into the design and implementation of his workshops. Gurdjieff's concepts, for White, were not just intellectual exercises but guides to experience, and they greatly influenced much of his approach to teaching and photography throughout the rest of his life. During this same period White began making his first color images. Although he is better known for his black-and-white photography, he produced many color photographs. His archive contains nearly 9,000 35mm transparencies taken between 1955 and 1975. In 1959 White mounted a large exhibition of 115 photos of his Sequence 13/Return to the Bud at the George Eastman House. It was his largest exhibition to date. It later traveled to the Portland Art Museum in Oregon. White was invited to teach a 10-days', all-expense paid workshop in Portland to accompany the exhibition. He took advantage of the funding to photograph landscapes and did nature studies across the country. From his experience in Portland he developed the idea for a full-time residential workshop in Rochester in which students would learn through both formal sessions and, following a combination of thinking from Gurdjieff and from Zen, through an understanding gained by the discipline of such tasks as household chores and early morning workouts. He would continue this style of residential teaching until he died. In the early 1960s White also studied hypnosis and incorporated the practice into some of his teachings as a way of helping students experience photographs. White continued to teach extensively both privately and at RIT for the next several years. During this time he traveled across the U.S. in the summers taking photographs along the way. In his journal he referred to himself during this period as "The Wanderer," which had both literal and metaphorical meanings due to his search for understanding life. In 1962 he met Michael Hoffman, who became a friend, colleague and, later, assumed the editorship of Aperture magazine. White later named Hoffman to be the executor of his will. In 1965 White was invited to help design a newly formed program in visual arts at the Massachusetts Institute of Technology (MIT) in Cambridge, Massachusetts, near Boston. After being appointed as a Visiting Professor, White moved to the Boston area and purchased a 12-room house in suburban Arlington so he could increase the size of his residential workshops for selected students. Soon after moving to the Boston area, he completed a different kind of sequence called Slow Dance, which he would later integrate into his teachings. He continued to explore how people understand and interpret photography and began to incorporate techniques of Gestalt psychology into his teachings. In order to help his students experience the meaning of "equivalence," he started requiring them to draw certain subjects as well as photograph them. White began to experience periodic discomfort in his chest in 1966, and his doctor diagnosed his ailment as angina. His symptoms continued throughout the rest of his life, leading him to intensify his study of spiritual matters and meditation. He turned to astrology in an attempt to increase his understanding about life, and his interest in it became so significant that he required all of his current and prospective students to have their horoscopes completed. By this point in his life White's unorthodox teaching methods were well established, and students who went through his workshops were both mystified and enlightened by the experience. One student who later became a Zen monk said "I really wanted to learn to see the way he did, to capture my subjects in a way that didn't render them lifeless and two-dimensional. I didn't realize that Minor was teaching us exactly that: not only to see images, but to feel them, smell them, taste them. He was teaching us how to be photography." White began writing the text for Mirrors, Messages, Manifestations, which was the first monograph of his photographs, in late 1966, and three years later the book was published by Aperture. It included 243 of his photographs and text, including poems, notes from his journal and other writings. Peter Bunnell, who was one of White's early students and then Curator of Photography at the Museum of Modern Art, wrote a lengthy biography of White for the book. During this same time White completed Sequence 1968, a series of landscape images from his recent travels. During the next several years White conceived of and directed four major themed photography exhibitions at MIT, starting with "Light7" in 1968 and followed by "Be-ing without Clothes" in 1970, "Octave of Prayer" in 1972 and "Celebrations" in 1974. Anyone could submit images for the shows, and White spent a great deal of time personally reviewing all of the submissions and selecting the final images. White continued to teach extensively and make his own photographs even though his health was declining. He devoted more and more time to his writing and began a long text he called "Consciousness in Photography and the Creative Audience," in which he referred to his 1965 sequence Slow Dance and advanced the idea that certain states of heightened awareness were necessary to truly read a photograph and understand its meaning. In order to complete this work he applied for and received a Guggenheim Fellowship in 1970, and Consciousness in Photography and the Creative Audience became required reading for a new course he taught at MIT called "Creative Audience." in 1971 he traveled to Puerto Rico to explore more of his color photography, and in 1974 and 1975 he journeyed to Peru to teach and to further his own Gurdjieff studies. In 1975 White traveled to England to lecture at the Victoria and Albert Museum and to teach classes at various colleges. He continued on a hectic travel schedule for several weeks, then flew directly to the University of Arizona in Tucson to take part in a symposium there. When he returned to Boston after nearly six weeks of travel, he suffered a heart attack and was hospitalized for several weeks. After this White's focus turned even more inward, and he photographed very little. He spent much of his time with his student Abe Frajndlich, who made a series of situational portraits of White around his home and in his garden. A few months before his death White published a short article in Parabola magazine called "The Diamond Lens of Fable" in which he associated himself with Gilgamesh, Jason and King Arthur, all heroes of old tales about lifelong quests. On June 24, 1976, White died of a second heart attack while working at his home. He bequeathed all of his personal archives and papers, along with a large collection of his photographs, to Princeton University. He left his house to Aperture so they could continue the work he started there. Source: Wikipedia
Yang Yongliang
Yang Yongliang
China
1980
Born in 1980 in Shanghai, Yang Yongliang graduated from China Academy of Art in 1999, majored in visual communication. He currently works and lives in Shanghai. He started his experiments with contemporary art in 2005, and his practice involved varied media including photography, painting, video and installation. Yang exploits a connection between traditional art and the contemporary, implementing ancient oriental aesthetics and literati beliefs with modern language and digital techniques. His work as an expanding meta-narrative that draws from history, myth and social culture, and plays out in the context of the city and its ever-changing landscapes. He started to learn traditional Chinese art and culture since childhood, the influence of which is seen in the form of his art: a sense of traditional aesthetics can be clearly perceived. In terms of media and content, however, it is brimming with a strong sense of post-modernism. Yang’s work has been exhibited at Moscow Biennale, Ullens Center for Contemporary Art and National Gallery of Victoria among others and is collected by public institutes such as the British Museum and the Metropolitan Museum of Art. Source: Prix Pictet
Nat Coalson
Nat Coalson
United Kingdom
1970
Nathaniel (Nat) Coalson was born and raised in the Rocky Mountains of Wyoming and Colorado USA. His early years were filled with travel, art and music, charting the course for his life in the arts. Although Nat's initial career interests were focused on music, by his late teenage years he began working as a graphic designer and his vocation then turned toward the visual. He studied drawing, painting and illustration, eventually receiving a camera as a gift from his father. With his growing passion for image-making, around 2003 Nat elected to develop his career in fine art photography and this has been his sole professional concentration ever since. Nat was initially inspired by the great masters of landscape photography and honed his craft photographing the mountains and deserts of the American West. But he soon discovered his love for abstraction and began creating non-representational images and photo-based mixed media works, drawing upon his expertise in the graphic arts. Around the same time, he fell in love with Europe, and in his travels began photographing more subjects within the built environment. Following Nat's marriage to his British wife Ruth in 2012 he moved to the UK, from where he continues to explore and photograph the Old World. In 2019 Nat founded a gallery of fine art photography, Gallery Photiq, in Leamington Spa, UK where he exhibits his own work along with fine prints by other notable photographic artists from around the world. Artist Statement: I'm captivated by visual phenomena and take great enjoyment in the beauty of how things appear. More deeply, I'm fascinated by the optical effects of materials and physical matter, and the infinite ways the effects of light interact with objects to produce what we see. I love making photographs that are engaging and beautiful even while the true subject matter isn't readily apparent, and much of my work involves photographing mundane, everyday subjects and scenes that may, at first glance, appear unattractive or uninteresting. I enjoy the challenge of extracting beauty from the most unexpected sources. This mindful practice of noticing the details and finding beauty everywhere has profoundly impacted my life experience in the most positive ways. Sharing my discoveries with others through prints and mixed media artworks brings joy both to myself and the viewers of the work, and this gives great meaning and purpose to my life. AAP Magazine AAP Magazine 54 Nature
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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