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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Antoine D'Agata
INDIA. Madras. 1988
Antoine D'Agata
Antoine D'Agata

Antoine D'Agata

Country: France
Birth: 1961

Born in Marseilles, Antoine d'Agata left France in 1983 and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin.

During his time in New York , in 1991-92, D'Agata worked as an intern in the editorial department of Magnum, but despite his experiences and training in the US, after his return to France in 1993 he took a four-year break from photography. His first books of photographs, De Mala Muerte and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001 he published Hometown, and won the Niépce Prize for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September; Stigma was published in 2004, and Manifeste in 2005.

In 2004 D'Agata joined Magnum Photos and in the same year, shot his first short film, Le Ventre du Monde (The World's Belly); this experiment led to his long feature film Aka Ana, shot in 2006 in Tokyo.

Since 2005 Antoine d'Agata has had no settled place of residence but has worked around the world.

Source: Magnum Photos

 

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Martin Elkort
United States
1929 | † 2016
Martin Edward Elkort (April 18, 1929 - November 19, 2016) was an American photographer, illustrator and writer known primarily for his street photography. Prints of his work are held and displayed by several prominent art museums in the United States. His photographs have regularly appeared in galleries and major publications. Early black and white photographs by Elkort feature the fabled Lower East Side in Manhattan, New York City, showing its ethnic diversity, myriad streets and cluttered alleys. The Coney Island amusement park in Brooklyn was another favorite site during that period. His later work depicts street scenes from downtown Los Angeles and Tijuana, Mexico. Throughout Martin Elkort's long career as a photographer, he always showed the positive, joyful side of life in his candid images. Born in the Bronx, New York City, Martin Elkort grew up during the Great Depression. Elkort took his first professional photograph at the age of 10 while on a car trip with his parents to Baltimore. During the trip, he took photographs of flooded streets. The Baltimore Sun purchased his photographs of flood scenes and featured one of them on its front page. At the age of 15, he suffered a bout with polio and spent four months in the hospital. When he returned home, his parents gave him his first Ciroflex, a twin-lens reflex camera, that cost them about a week’s salary. After his recovery from polio, he set out around Manhattan taking pictures of whatever interested him. While studying at New York City's Cooper Union School of Art, Elkort joined the New York Photo League, an organization of photographers that served as the epicenter of the documentary movement in American photography. There he studied under successful photographers including Paul Strand, Aaron Siskind, Sid Grossman, Lou Stoumen, Imogen Cunningham and Weegee, learning to become adept at what he refers to as "stealth photography". With a more refined Rolleiflex twin-lens reflex camera strapped around his neck, he would roam the streets peering down into the 2×2 inch ground glass. He developed the skill of walking right up to a person and taking their photo without them even realizing it. His goal was to capture this post-war period's general optimism and innocence. During this period he worked at the Wildenstein & Company Gallery and later, the Stephen Michael Studio in Manhattan where he further enhanced his photographic knowledge and technique. In 1948, Elkort showed his pictures of Hasidic Jewish boys playing in the streets to Edward Steichen, who was curator of photography at New York's Museum of Modern Art and probably America's most famous photographer at the time. Steichen rejected his photos, describing Martin's skills as "no better than the other 35 million amateur photographers in the country." Dejected but determined, Elkort worked tirelessly to improve his craft and two years later, he met with Steichen again. This time the famous curator bought three of his images for the museum's collection: Soda Fountain Girl, Puppy Love, and The Girl With Black Cat, all uplifting images of children at Coney Island. Elkort's photographs (c. 1951) of recently liberated Jewish immigrants learning new work skills at the Bramson ORT (Organization for Rehabilitation and Training) School in Brooklyn offer a rare and intimate glimpse into of their optimistic struggle to integrate into a new society after World War II. Some of his pictures show Jewish workers bearing tattoos evidencing their incarceration in Nazi concentration camps during The Holocaust. In 1951, more than 20,000 Jews received vocational training at the Bramson ORT School. Seamstresses, tailors, pattern makers, pressers; here they learned a trade that was much needed in New York’s growing fashion and garment district. In 2008, Elkort donated 33 of his vintage ORT photographs to the United States Holocaust Memorial Museum in Washington, D.C.. Elkort was a member of New York Photo League from 1948–1951; an editorial associate and contributor to New Mexico Magazine in 1957; a founding member in 2002 of Los Angeles League of Photographers (LALOP); a contributing editor and contributed photographs to Rangefinder Magazine in 2006; and a member of the Photography Arts Council at Los Angeles County Museum of Art. After receiving a digital camera for his 70th birthday, Martin's photographic career re-ignited. He began to show his current and older work in galleries around the country. He also found a renewed interest in the New York Photo League. In 2002, he co-founded the Los Angeles League of Photographers along with David Schulman and David Stork. Modeled after the New York Photo League, its mission is to expose the wider public to photography's essential social, political and aesthetic values. He also writes articles for magazines dealing with photography including Rangefinder and Black & White Magazine. As of March 2014, Elkort's work is widely exhibited and can be found in the permanent collections of the United States Holocaust Memorial Museum in Washington, D.C.; the Museum of Modern Art in New York City; The Jewish Museum (Manhattan) in New York City; the Columbus Museum of Art; The Museum of Fine Arts, Houston; The J. Paul Getty Museum in Los Angeles; as well as many corporate and private collections.Source: Wikipedia
Jonas Bendiksen
Norway
1977
Jonas Bendiksen is a Norwegian photojournalist based near Oslo. He has published the books Satellites (2006) and The Places We Live (2008) and received awards from World Press Photo, International Center of Photography, National Magazine Awards and Pictures of the Year International. Bendiksen became a Magnum Photos nominee in 2004 and a member in 2008. In 2010 he was its president. Bendiksen was born in Tønsberg, in Vestfold county, southern Norway, on 8 September 1977. He lived in Russia for several years. The time he spent there resulted in his book, Satellites - Photographs from the Fringes of the former Soviet Union, about separatist republics in the former USSR, published in 2006. For three years he photographed slum communities in Nairobi in Kenya, Mumbai in India, Jakarta in Indonesia, and Caracas in Venezuela, for The Places We Live, a book published in 2008, and an exhibition containing projections and voice recordings.Source: Wikipedia Thinking back on the series of events, and “ill-advised” actions he undertook as a photographer in his 20s, Jonas Bendiksen says one of the driving forces of his landmark project, Satellites, was luck. Happening to be in a specific place, at a specific time, is what led the photographer to make some of the series’ most unique and most memorable images. Yet, through all of his reflections on the project, it’s clear that a keen sense of observation, determination in the execution of an idea, and a certain streak of recklessness were all part of the mix. During the collapse of the Soviet Union, economic, political and ethnic disparities gave birth to a series of lesser-known unrecognized republics, national aspirations, and legacies. Crafted from a series of Bendiksen’s photoessays made from 1999 to 2005, Satellites documented these places in transition. Six regions undergoing great social shifts formed the six chapters of the book: the “non-existent” state of Transdniester; the beach resort of Abkhazia; the contested region of Nagorno-Karabakh; the Fergana Valley, lying across Uzbekistan, Kyrgyztan and Tajikstan; the spaceship crash zones of the Altai Territory; and the Jewish Autonomous Region of Birobidzhan. Through this collection of vignettes, little-seen in the West at the time, Bendiksen provided an insight into how daily life was lived in liminal places, documenting communities that were experienced the breakdown of Soviet communism in varying ways. Jonas Bendiksen’s sharply evocative images explore themes of community, faith and identity with unsparing honesty. He has made major bodies of work all over the world, at the same time as he always also photographs the daily rhythms of life at home. As well as many critically acclaimed long-form projects he has also produced significant work for many commercial and editorial clients. Bendiksen most recent book The Last Testament from 2017 told the story of seven men who all claimed to be the biblical Messiah returned to earth. His editorial clients include magazines such as National Geographic, Stern, TIME Magazine, Newsweek, The Sunday Times Magazine, The Guardian Weekend. On the commercial side, he has done projects for HSBC, Canon, FUJI, BCG, Red Bull and Land Rover. Bendiksen lives with his wife and three children outside Oslo, Norway.Source: Magnum Photos
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
Rip Hopkins
United Kingdom
1972
Born in England in 1972, Rip Hopkins studied industrial design at ENSCI (Ecole Nationale Supérieure de Création Industrielle) in Paris. Working with Médecins Sans Frontières (Doctors Without Borders) he has made photoreportages and documentaries in numerous countries including South Sudan, Bosnia, Liberia, Uganda, Ingushetia, and East Timor. He joined Agence VU in 1996 and the following year received the Mosaïque Scholarship, the Kodak Young Photo-Reporter Award, the Observer Hodge Award and the Monographies Prize. In 2000, he was awarded the Fondation Hachette Scholarship to pursue his photographic work in Tajikistan. This led to his receiving the 2002 Fondation HSBC Award and the publication of Tajikistan Weaving (Actes Sud Editions). His book Displaced (Textuel Editions 2004) was produced with the support of the FIACRE Scholarship. Hopkins started photography when he was ten years old. It is his way of recording and documenting moments of his life and those of others. He sees photography as a tool presenting vast possibilities for intellectual and aesthetic expression. He combines his personal art work with the necessity of making a living, thus drawing on various means of support such as exhibitions, books, press work and films. This produces an on-going cycle: if a person sees a photograph then they know that it exists, so they can buy it, so the photographer can produce work and survive. So what is a photographer exactly? Ethnographer, artist, advertiser, teacher, crook, journalist, artistic director? Few professions are so diverse and so vague. A photographer is constantly confronted with questions such as: what is an image today? How long will it survive? How should it be made? Who wants it? What technique should be used? Should there be a point of view or a stand point? With each new project Rip asks himself these questions again and re-evaluates his role in today’s world. Rip Hopkins is a member of Agence Vu and is represented by Galerie Le Réverbère and by LT2. Source: www.riphopkins.com
Ralph Steiner
United States
1899 | † 1986
Ralph Steiner was an American photographer, pioneer documentarian and a key figure among avant-garde filmmakers in the 1930s. Born in Cleveland, Steiner studied chemistry at Dartmouth, but in 1921 entered the Clarence H. White School of Modern Photography. White helped Steiner in finding a job at the Manhattan Photogravure Company, and Steiner worked on making photogravure plates of scenes from Robert Flaherty's 1922 Nanook of the North. Not long after, Steiner's work as a freelance photographer in New York began, working mostly in advertising and for publications like Ladies' Home Journal. With fellow graduate Anton Bruehl (1900–1982), in 1925, they opened a studio on 47th Street, producing a narrative series of amusing table-top shots of three cut‑out figures dressed in suits for The New Yorker magazine; advertisements for Weber and Heilbroner menswear in a running weekly series. Their client was wiped out in the Wall Street Crash. Through the encouragement of fellow photographer Paul Strand, Steiner joined the left-of-center Film and Photo League around 1927. He was also to influence the photography of Walker Evans, giving him guidance, technical assistance, and one of his view cameras. Steiner's still photographs are notable for their odd angles, abstraction and sometimes bizarre subject matter; the 1944 image Gypsy Rose Lee and Her Girls is sometimes mistaken for Weegee. His experimental films, however, are considered central to the literature of early American avant-garde cinema, and the influence of Ralph Steiner's visual style continues to assert itself; for example, contemporary avant-garde filmmaker Timoleon Wilkins cites Steiner as an inspiration. In his appreciation of Steiner, author Scott McDonald expands that list to include Dorsky, Andrew Noren, Larry Gottheim and Peter Hutton. The links between the first generation of American avant-garde filmmakers such as Steiner with the second – exemplified by Maya Deren, Stan Brakhage and others – are few, but Steiner is among those who managed to bridge the gap.Source: Wikipedia At the end of the 1960s Steiner relocated to Vermont. After making three more films he devoted himself to photographing clouds for nearly twenty years, primarily on the coast of Maine and in Oaxaca, Mexico. Clouds have been of longstanding interest to painters throughout the history of art. In photography, the subject is often associated with Alfred Stieglitz, who made photographs of clouds entitled Equivalents, believing them to appeal directly to the subconscious mind. Steiner similarly saw the evocative potential in cloud formations, although he felt the meaning of any given image was far more mercurial than his predecessor. Leaving his works deliberately untitled, he invites viewers to use their imaginations and provide their own titles, which, in his estimation, becomes a process of testing out different descriptions and metaphors. In 1985, shortly before his death, Steiner published a book of these studies, In Pursuit of Clouds.Source: MoCP
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