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Wiktor Franko
Wiktor Franko
Wiktor Franko

Wiktor Franko

Country: Poland
Birth: 1983

Wiktor Franko, born in Kielce in 1983. He completed Polish Language Studies at the Swietokrzyska Academy, then got involved in photography and he has ever since been preoccupied with it. He deals with both fine art and commercial photography. His photographs have been published in a number of professional magazines, such as Prism Magazine, Camerapixo, Pokochaj Fotografie, Fabrikon Magazine, Musli Magazine, Confashion and a Chinese Prime Magazine. He exhibited his works at a few collective and individual exhibitions, and his photographs were awarded in a variety of photo contests - he was twice awarded in a prestigious Viva Photo Awards and two local contests Zycie Jest Piekne and Kielce Inaczej (he was a jury member with Pawel Pierscinski in the last two editions of Kielce Inaczej contest). Wiktor Franko was a collaborator of Charaktery magazine, and a number of his images were placed on the cover of that magazine. His photographs can also be found on book covers.

On two occasions, he took photographs of famous people from the world of business, culture and politics, including a portrait photo depicting Malgorzata Tusk, Prime Minister's wife for Philanthropist's Calendar, a publication that is of importance for the region. Wiktor Franco is the author of three posters for The Off Fashion, a European contest for fashion designers that is held in Kielce. Initially, Wiktor's development as a photographer ran parallel to his stay in London, where he shot photos of jazz and rock music stars, including Marillion, King Crimson, Porcupine Tree, Archive, Chic Corea, Jan Garbarek. Currently, Wiktor is engaged in making music albums covers of Polish artists, including Strefa Ciszy, Lebowski.

In his photographs, Wiktor Franko frequently uses literary motifs and allusions (a cycle devoted to Milan Kundera's novels). His works, strongly influenced by surrealism, are often defined as painterly. As he himself says, what is most important for him in photography is the atmosphere, a particular mood and surprise.

Source: Galeria Winda

Website

wiktorfranko.com

 

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Shinji Ichikawa
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Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
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Harry Fisch
Harry Fisch
Spain
There is of course a personal and direct involvement in the places that I later represent but (and), my artistic practice includes onsite photography and documentation, historical records research, as my own encounters and finding testimonials from other visitors as well as narratives. De-constructing whatever is called reality in order to build another new reality that is more closely related to my non- photographic memories. -Harry Fisch- Harry Fisch has been a photographer for more years than he cares to remember. He is the founder and leader of Nomad Photo Expeditions, a travel company that organizes unique photo tours and photographic expeditions all over the world. He designs his trips looking for stories, cultural events, and experiences of human interest and photographic value, all which is enriched through his previous on-site experiences, new explorations of special locations, previous works of travelers, historians and documentary makers. Winner of the 2012 World National Geographic Photo Contest (places), and later disqualified (due to deleting a plastic bag), his work –travel photography and fine art- has deserved many awards: 2020 finalist at the professional IPA (International Photography Awards) and two honorable mentions as well. 2020 Bronze at the professional MIFA (Moscow International Foto Awards). 2019 two IPA Professional Awards of Merit. 2019 finalist, Travel Photographer of the Year. 2014 Grand Prix de la Découverte, 2012 finalist in the Sony World Photo Awards, 2010 Photoespaña in the section “Discoveries”. A writer in different international photography publications, his interest in the photography of localities and cultural realities has seen him travel through all over the world. Interested in Asian and African cultures, the more he sees and experiences the more curious he has become. He endeavors to build relationships with the people of a place, sharing as far as possible their daily existence, listening to the ups and downs of their lives. He plans the expeditions from this perspective, looking for different locations-sometimes a nearby residence or attending an event, or accepting an invitation that can make that contact more real and personal.
Arkady Shaikhet
Arkady Shaikhet
Russia
1898 | † 1959
Arkady Samoylovich Shaikhet was at the beginning a locksmith apprentice at a shipyard in Nikolaiev where he was born. He came to Moscow in 1918. At first he worked in a photographic studio were he retouched images of others but in 1924 his career as a photojournalist started. He worked for Rabochaïa Gazeta and the weekly Ogonek/Ogoniok. He was a pioneer in a new style of documentary photography called " artistic reportage". He became a member of the union of proletarian russian photographers (ROPF), a rival group of the other "October" founded by Aleksander Rodtchenko. Shaikhet favored a rigorous journalistic point of vue and his work was very sensitive to sociological problems. His images were at the frontier of documentary and artistic photography. In 1931 with two of his friends, M. Alpert and Sergueï Toules and also the editor in chief Mezhericher, he took 80 pictures in four days and called his series "24 hours in the life of the family Filippov, steelworker in the red proletarian factory of Moscow" These documents were published in the German magazine "Arbeiter Illustrierte Zeitung (A.I.Z.) and then in the Russian magazine "USSR in Construction". They had a huge international impact. In 1928 Shaikhet presented 30 images at the big exhibition "Ten years of Soviet photography" and won the first prize. In 1930 he helped Russian photojournalists show their work at the Camera Club in London. During the 30s he took a lot of images of the economical and social changes happening in his country. He followed the Turkestan–Siberian railway, that connects Central Asia and Siberia but also the first cars and tractors. He was a war reporter during World War II for the newspaper Frontavaïa Illioustratsia.
Peter Beard
Peter Beard
United States
1938 | † 2020
Peter Hill Beard is an American artist, photographer, diarist and writer who lives and works in New York City and Kenya. His photographs of Africa, African animals and the journals that often integrate his photographs have been widely shown and published since the 1960s. Born in 1938 as a New York aristocrat, he was heir to a railroad fortune on his mother’s side of the family and a tobacco inheritance on his father’s. He was raised in New York City, Alabama, and Islip, Long Island, Beard began keeping diaries as a young boy and making photographs, as an extension of the diaries, at the age of 12. A graduate of Pomfret School, he entered Yale University in 1957, with the intention of pursuing pre-med studies, only to switch his major to art history. His mentors at Yale included Josef Albers, Richard Lindner and Vincent Scully. Inspired by earlier trips to Africa in both 1955 and 1960, Beard traveled to Kenya upon graduation. Working at Tsavo National Park, he photographed and documented the demise of 35,000 elephants and other wildlife, later to become the subject of his first book, "The End of the Game." During this time, Beard acquired Hog Ranch, a property near the Ngong Hills adjacent to the coffee farm owned by Karen Blixen (Isak Dinesen), which would become his lifelong home-base in East Africa. Peter Beard's photographs of Africa, African animals and journals that often integrate his photographs have been widely shown and published since the 1970s. Each of his works is unique, a combination of his photography with elements derived from his daily diary-keeping, a practice he continues to this day. These volumes contain newspaper clippings, dried leaves, insects, old sepia-toned photos, transcribed telephone messages, marginalia in India ink, photographs of women, quotes, found objects, and the like; these become incorporated, with original drawings and collage by Beard. Certain of his works incorporate animal blood, sometimes Beard’s own blood (in sparing quantities), a painting medium the artist favors. Beard's first exhibition was at the Blum Helman Gallery, New York, in 1975. Landmark museum exhibitions have been held at the International Center of Photography, New York, in 1977, and the Centre National de la Photographie, Paris, in 1997. Gallery exhibitions followed in Berlin, London, Toronto, Madrid, Milan, Tokyo and Vienna. Beard’s work is included in private collections throughout the world. In 2017, Beard was sued by actor David Spade who purchased one of his works. Spade tried to resell a Peter Beard photograph that he had purchased from dealer Peter Tunney but the unsigned work could not be authenticated. Descended from distinguished American families on both sides, Beard is one of three sons born to Roseanne Hoar Beard and Anson McCook Beard, Jr. A great-grandfather, James Jerome Hill, was founder of the Great Northern Railway in the United States in the late 19th/early 20th centuries. Having made his fortune in the railroad business, James Jerome Hill was a great patron of the arts. All of his heirs were exposed to and owned great collections, presumably having a strong influence on Beard’s interests in the arts and beauty. Beard married his first wife (Minnie Cushing Beard Coleman) in 1962; their marriage lasted only briefly. His second wife was supermodel Cheryl Tiegs, from 1982 to 1986. In 1986, he married Nejma Khanum. The couple has a daughter, Zara, for whom his book, Zara’s Tales, was written. Beard has befriended and in some cases collaborated with many legendary artists including Andy Warhol, Andrew Wyeth, Francis Bacon, Karen Blixen, Truman Capote, Richard Lindner, and Salvador Dalí. He has also photographed many well-known people.Source: Wikipedia Peter Beard is a contemporary American photographer best known for his documentary images of Africa arranged in unique photo collages that combine painting, drawing, and text. Part documentarian, part activist, Beard’s work captures the plight of a continent succumbing to industrialization. “The wilderness is gone,” the artist has said, “and with it much more than we can appreciate or predict. We'll suffer for it.” Born on January 22, 1938 in New York, NY the artist and diarist was educated at Yale University, studying art history with the famed abstract painter Josef Albers. After moving to Africa in the 1960s, Beard began to catalog the demise of elephants and rhinoceroses in Kenya’s Tsavo National Park. In 1975, while living in Nairobi, Beard spotted a beautiful university student named Iman, the photographer later brought her to New York, launching her career as a super model. Over the course of his career he has collaborated with Andy Warhol, Richard Lindner, Francis Bacon, and others. Beard currently lives and works between New York and Montauk, NY, and Nairobi, Kenya.Source: Artnet
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Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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