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Niki Feijen
Niki Feijen
Niki Feijen

Niki Feijen

Country: Netherlands
Birth: 1977

Dutch photographer Niki Feijen immortilizes an astonishingly intact glimpse into the past. This autodidact specializes in documenting and capturing historic architecture and abandoned buildings. Each photo fuses together the conflicting notions of beauty and decay and corresponds with his desire to capture and silently communicate with his audience about the subject's very essence.

Niki wants to recreate the exact same scene as he sees while standing in a location but the lightspectrum your eye can capture is much, much wider than a camera can capture. Photographing a dark setting with extreme highlights like a window causes the highlights to wash out into white or dark areas can become obscure black blobs. It's impossible to shoot a photo that captures both ends of this spectrum. Since Niki does not use any artificial lighting he uses different exposures to capture a much wider light spectrum than a traditional photograph. The result is a hyper realistic photo which would replicate the exact same thing you would see standing inside the location yourself.

In 2010 Feijen visited the quintessential location of desertion: the Chernobyl Exclusion Zone. After a catastrophic nuclear accident occurred in 1986 the entire city of Pripyat, all 50,000 inhabitants, were evacuated within 48 hours. Most of the belongings of the evacuated inhabitants were left behind and never returned to again. The incredible deafening silence of this location, in its absence of the living, permeates the senses and mind of visitors who venture to there to this day.

Feijen is currently travelling around the globe looking for more hidden gems tucked away behind 'Do Not Enter' signs. Curious about what lies on the other side, he goes in search of the hidden world that is often in plain sight. When Feijen comes across impressive yet eerie locations, such as homes located in ghost towns, asylums, decaying hospitals, abandoned castles and long forgotten hotels, he intends to preserve the what is left of the past by encapsulating these forgotten masterpieces' ethos in a photo before they crumble and collapse.

The impressions left from these places are represented in visual form for the public in three separate books. All works, 'Disciple of Decay' (April 2013) 'Frozen' (September 2014) and 'Tempus Fugit' (December 2017), have been independently published. The first sold out in six months. On top of these publications, Feijen's photographs are exhibited at art galleries and international art fairs several times a year.

His works have been featured by NBC, BBC, The Huffington Post, ABC News, The Daily Mail and Chase Jarvis, among a variety of others. As of 2014 Feijen's work is part of the Sir Elton John Photography Collection where his name is among legendary photographers as ; Edward Weston, David LaChapelle, Diane Arbus and Henri Cartier-Bresson.
 

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More Great Photographers To Discover

Trent Parke
Australia
1971
Trent Parke (born 1971) is an Australian photographer. He is the husband of Narelle Autio, with whom he often collaborates. He has created a number of photography books; won numerous national and international awards including four World Press Photo awards; and his photographs are held in numerous public and private collections. He is a member of Magnum Photos. Parke was born and brought up in Newcastle, New South Wales; he now lives in Adelaide, South Australia. He started photography when he was twelve. At age 13 he watched his mother die from an asthma attack. He has worked as a photojournalist for The Australian newspaper. Martin Parr and Gerry Badger say that Parke's first book Dream/Life is "as dynamic a set of street pictures as has been seen outside the United States or Japan". In 2003 he and his wife, the photographer Narelle Autio, made a 90,000 km trip around Australia, resulting in Parke's books Minutes to Midnight and The Black Rose. Parke became a member of the In-Public street photography collective in 2001. He became a Magnum Photos nominee in 2002 and a member in 2007; the first Australian invited to join.Source: Wikipedia Trent Parke, the first Australian to become a Full Member of the renowned Magnum Photo Agency, is considered one of the most innovative and challenging photographers of his generation. Moving beyond traditional documentary photography, Parke’s work sits between fiction and reality, offering an emotional and psychological portrait of family life and Australia that is poetic and often darkly humorous. In 2015, solo exhibition The Black Rose, premiered at the Art Gallery of South Australia. Featuring photographs, lightboxes, video, written texts, and books, the exhibition lead viewers through a vast, visual narrative that explored the meaning and transience of life from both personal and universal perspectives. Parke has received numerous awards and accolades. He was a Finalist, with collaborator Narelle Autio, in the 2016 Basil Sellars Art Prize and was Winner of the 2014 Photography Prudential Eye Award. Whilst working as a press photojournalist he won five Gold Lenses from the International Olympic Committee, and multiple World Press Photo Awards in 1999, 2000, and 2005. In 2003 he was awarded the prestigious W. Eugene Smith Grant in Humanistic Photography. Parke’s work has featured in exhibitions and art fairs across the globe and is held in major institutional collections, including the National Gallery of Australia, Museum of Contemporary Art, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Artbank, Magnum London and Magnum Paris. In 2014, Steidl released two hardback monographs of Parke’s work, Minutes to Midnight and The Christmas Tree Bucket. The self-published book, Dream/Life, a collaboration with Narelle Autio, was awarded second place in the American Picture of the Year Award for Photography Books in 2000.Source: Stills Gallery
Zaharia Cusnir
Moldova
1912 | † 1993
Zaharia Cuşnir (1912-1993) was an amateur photographer born in Rosietici village, Floresti region, Moldova. He was photographing people within 1955-1973, and left a collection of negative films 6x6 cm, from which 3751 were discovered in his abandoned house in 2016. The photographs portray groups, landscapes, scenes from everyday life: work in the kolkhoz, weddings, funerals, national celebrations. Life Zaharia Cuşnir was born as the last child in the family of 16 children in Rosietici village, Soroca district. His father was a Moldovan businessman (born 1870), and his mother was of German origins (born in approx. 1870). Zaharia was born in Bessarabia, at that time part of the Russian Empire, educated in Romania (Iasi city), and after WW-II, became a USSR citizen. He went to school to the neighbouring Rogojeni village and later attended the pedagogical lyceum in Iasi, Romania. He began teaching in Rogojeni, then though he worked in kolhoz, performing works as carrying stones, digging the frozen ground, carrying loam, destroying fences, herding cows. Villagers also remember him as a blacksmith. He also built a family of 4 children with his wife, Daria. Zaharia learned photography from his nephew, who returned from the army. The nephew was living in another village, so they decided to split the territory for the photographic activities. So, Zaharia stayed responsible for the surrounding villages: Caşunca, Rogojeni, Țâra, Ghindeşti, Roşietici, and Cenuşa. The first pictures were taken in 1955. Zaharia was photographing mainly portraits of neighbours and then he was selling the photos. He had a bicycle, which he was usually lending to people for a photograph, as well he had a black blanket, which he was using as a background when he was taking portraits. Up to 1973, he had taken around 4000 pictures of the medium format 6x6 cm. In 1993, after he died, the house was abandoned and the pictures were stocked in a suitcase and placed in the attic. Discovery In spring 2016, Victor Galuşca, being a student at the Academy of Arts in Chisinau, Moldova, arrived in Rosietici village to film his documentary film for the bachelor's degree exam. He entered the abandoned house and found several negative films scattered through the trash all around the floor. Victor inquired from the villagers whose house was it and found the daughter of Zaharia Cusnir, living in the neighbourhood. With her permission, within several days, he picked all of them, and together with his photography professor, Nicolae Pojoga started the cleaning and indexing process of the archive. Among all, there were found old documents, among which was an edited request for admission to the school, adjusted to a stilted language used at the time. There was also found a table of exercises written in Russian Cyrillic script, as well as elementary calculus tests designed for primary school. Other documents and archival remnants reveal a struggle between life and death for the majority of the population; these include bread allowances and checks listing debts. Further Development The archive has a high resonance and was appreciated within several exhibitions: at the Museum of Art of Moldova (curated by Cervinscaia Nadejda) and the Romanian Peasant Museum in Romania in 2018, and at the Ethnographic Museum of Transilvania, the Subway Gallery of the House of Arts in Timisoara, Romania and at the Museum of Ethnography and Folklore MARAMUREş from Baia Mare, Romania in 2019. In 2017 a Moldovan Publishing house Cartier published a photo album "Lumea lui Zaharia" ("Zaharia's World"). At the beginning of 2020, was launched the website and facebook page, aiming to give open access to the usage of the Zaharia Cusnir archive. The team is working on few coming exhibitions in Europe in 2020.
Damien Aubin
France
1984
A graduate of the École des Beaux-Arts, Damien Aubin develops a photographic language at the intersection of architectural study and sociological reflection. His process is rooted in rigorous technical standards, primarily utilizing the 4x5 large format camera and medium format digital systems. This choice of equipment dictates a specific relationship with time—a deliberate slowness that allows him to deconstruct the complexity of the structures he observes. By using a large format camera, he doesn’t merely capture an image; he constructs a perspective where geometric precision dialogues with the silence of space. His work questions the individual’s place. within monumental systems, seeking in every frame the fragile balance between built ambition and the inertia of the urban landscape.. Civilization is an ongoing body of work, conceived as an open and evolving series. Civilization This series explores environments shaped by human ambition, where structures operate at a scale that exceeds individual presence. Whether meticulously maintained, fully operational, or marked by abandonment, these spaces persist. I do not seek to document decay, but rather to observe how these architectural forms continue to impose their systemic logic, even when human activity has withdrawn. In these images, human presence recedes in favor of massive, organized structures. Within this apparent coherence, a subtle form of decoherence emerges — a misalignment between monumental scale and lived experience, between operational systems and the tangible reality of the body. I approach these environments from a distance, observing how structure prevails over function. The act of photographing becomes a way of remaining within this tension — of confronting what both attracts and unsettles me. What remains is not decay as an end, but inertia — a quiet persistence of civilization beyond its visible utility.
William Heick
United States
1916 | † 2012
William Heick (October 6, 1916 – September 13, 2012) was a San Francisco-based photographer and filmmaker. He is best known for his ethnographic photographs and documentary films of North American Indian cultures. W.R. Heick served as producer-director and chief cinematographer for the Anthropology Department of the University of California, Berkeley on their National Science Foundation supported American Indian Film Project. His photographs capture the life and culture of Native Americans from the Kwakiutl, Kashaya Pomo, Hupa, Navajo, Blackfoot and Sioux. He filmed a number of award winning films in this series along with the documentaries Pomo Shaman and Sucking Doctor, a Pomo doctoring ceremony considered by anthropologists to be one of the most complete and outstanding films of an aboriginal ceremony made to date. William Heick's career in photography began as a naval intelligence photographer during World War Two in the Pacific. After the war he studied photography at California School of Fine Arts (now the San Francisco Art Institute) under such notable teachers as Ansel Adams and Minor White. He became lifelong friends with Imogen Cunningham and Dorothea Lange and regards these two photographers as the primary influences on his photographic work. William Heick filmed two documentaries about Pacific Northwest Indian tribes, Blunden Harbour (1951) and Dances of the Kwakiutl (1951). W.R. Heick worked through most of the 1950s and 1960s as producer-director, assistant historian and cinematographer for the worldwide engineering firm of Bechtel Corporation. While with Bechtel he wrote and filmed documentaries of their major projects with special emphasis on ethnic and social consideration in remote areas of the Arctic, South America, Africa, Greenland, Europe, The Middle East, Australia, Indonesia and the islands of New Guinea and Bougainville. From 1956 to 1964 Heick was involved with C. Cameron Macauley in the American Indian Film Project, a project to document Native American cultures through film and sound recordings, working closely with Alfred Kroeber and Samuel Barrett. William Heick produced two documentaries for the Quakers. Beauty for Ashes documents the Quaker's project to rebuild 40 churches that had been burned by nightriders during Mississippi's racial strife in the turbulent 1960s. Voyage of the Phoenix documents the controversial voyage of the yacht Phoenix, which sailed through the American battle fleet during the Vietnam War to deliver medical supplies to North Vietnam when the bombing of that beleaguered country was at its peak. In the late 1960s and early 1970s W.R. Heick served as cinematographer on three feature films, all for the director/artist Fredric Hobbs: Troika (1969, co-directed by Gordon Mueller), Alabama's Ghost (1973), and The Godmonster of Indian Flat (1973). During the mid-1970s, working as an independent producer with Gordon Mueller, W.R. Heick produced the Indonesian Dance Series. This series, funded with grants from Caltex Pacific Indonesia and Pertamina, documents fourteen traditional dance performances from the islands of Java, Bali, Sumatra and Kalimantan. W.R. Heick's later films include The Other China, a four-part mini-series filmed on location in Taiwan in 1988 documenting the social and cultural fabric of Taiwan. His fine art photography has been exhibited at the San Francisco Museum of Modern Art, the California Palace of the Legion of Honor, the de Young Museum, the Seattle Museum of Art, the Henry Gallery (University of Washington), the Phoebe A. Hearst Museum of Anthropology, and the University Art Gallery (Cal State at Chico) among others. His photographs have been selected for the permanent collections of the Museum of Modern Art, New York, the Smithsonian Institution, the High Museum of Art, Atlanta, the Santa Barbara Museum of Art, and the Monterey Peninsula Museum of Art. In a published Art Scene review Monterey landscape artist and art critic Rick Deregon wrote: "The special qualities of W.R. Heick's images come from the simple relationship between the photographer and subject. With no agenda other than to capture the decisive inspirational moment and to illustrate the human parade Mr. Heick's work transcends straight journalism and aspires to an art of nobility and compassion."Source: Wikipedia William Heick was born October 6th, 1916. Spanning seven decades, Heick's career in photography and filmmaking has covered locations all over the world. Heick grew up in Kentucky and attended the University of Cincinnati. He married Jeanne Ridge in 1942, and served as a naval intelligence photographer in the Pacific during World War II. After the war, he continued his education at San Francisco State University. He also attended the California School of Fine Arts (now known as the San Francisco Art Institute), where he studied photography, painting, and sculpture under distinguished instructors such as Ansel Adams and Minor White. It was during this period that he met and made lifelong friends with photographers Imogen Cunningham and Dorothea Lange, both of whom he regards as primary influences on his photographic work. His fine art photography has been exhibited in institutions such as San Francisco Museum of Modern Art, DeYoung Museum, and Seattle Museum of Art, among many others. He has produced over 200 films and thousands of photographs. At the age of 94, when asked to sum up his prolific career, he simply stated, "it sure beats working!"Source: Peter Fetterman Gallery
Diane Arbus
United States
1923 | † 1971
Diane Arbus was an American photographer and writer noted for black-and-white square photographs of "deviant and marginal people (dwarfs, giants, transgender people, nudists, circus performers) or of people whose normality seems ugly or surreal." Arbus believed that a camera could be “a little bit cold, a little bit harsh” but its scrutiny revealed the truth; the difference between what people wanted others to see and what they really did see – the flaws. A friend said that Arbus said that she was "afraid... that she would be known simply as 'the photographer of freaks'"; however, that phrase has been used repeatedly to describe her. In 1972, a year after she committed suicide, Arbus became the first American photographer to have photographs displayed at the Venice Biennale. Millions of people viewed traveling exhibitions of her work in 1972–1979. Between 2003 and 2006, Arbus and her work were the subjects of another major traveling exhibition, Diane Arbus Revelations. In 2006, the motion picture Fur, starring Nicole Kidman as Arbus, presented a fictional version of her life story. Although some of Arbus's photographs have sold for hundreds of thousands of dollars at auction, Arbus's work has provoked controversy; for example, Norman Mailer was quoted in 1971 as saying "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child." Others have, however, pointed out that Mailer was dissatisfied with a picture of him holding his crotch taken by Arbus for the New York Times book review. Diane Arbus was born as Diane Nemerov, to David Nemerov and Gertrude Russek Nemerov. The Nemerovs were a Jewish couple who lived in New York City and owned Russek's, a famous Fifth Avenue department store. Because of her family's wealth, Arbus was insulated from the effects of the Great Depression while growing up in the 1930s. Arbus's father became a painter after retiring from Russek's; her younger sister would become a sculptor and designer; and her older brother, Howard Nemerov, would later become United States Poet Laureate, and the father of the Americanist art historian Alexander Nemerov. Diane Nemerov attended the Fieldston School for Ethical Culture, a prep school. In 1941, at the age of eighteen, she married her childhood sweetheart Allan Arbus. Their first daughter Doon (who would later become a writer), was born in 1945 and their second daughter Amy (who would later become a photographer), was born in 1954. Diane and Allan Arbus separated in 1958, and they were divorced in 1969. The Arbuses' interests in photography led them, in 1941, to visit the gallery of Alfred Stieglitz, and learn about the photographers Mathew Brady, Timothy O'Sullivan, Paul Strand, Bill Brandt, and Eugène Atget. In the early 1940s, Diane's father employed them to take photographs for the department store's advertisements. Allan was a photographer for the U.S. Army Signal Corps in World War Two. In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus," with Diane as art director and Allan as the photographer. They contributed to Glamour, Seventeen, Vogue, Harper's Bazaar, and other magazines even though "they both hated the fashion world." Despite over 200 pages of their fashion editorial in Glamour, and over 80 pages in Vogue, the Arbuses' fashion photography has been described as of "middling quality." Edward Steichen's noted 1955 photographic exhibit, The Family of Man, did include a photograph by the Arbuses of a father and son reading a newspaper. In 1956, Diane Arbus quit the commercial photography business. Although earlier she had studied photography with Berenice Abbott, her studies with Lisette Model, beginning in 1956, led to Arbus's most well-known methods and style. She began photographing on assignment for magazines such as Esquire, Harper's Bazaar, and The Sunday Times Magazine in 1959. Around 1962, Arbus switched from a 35 mm Nikon camera which produced grainy rectangular images to a twin-lens reflex Rolleiflex camera which produced more detailed square images. In 1963, Arbus was awarded a Guggenheim Fellowship for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966. In 1964, Arbus began using a twin-lens reflex Mamiya camera with flash in addition to the Rolleiflex. Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years. During the 1960s, she taught photography at the Parsons School of Design and the Cooper Union in New York City, and the Rhode Island School of Design in Providence, Rhode Island. The first major exhibition of her photographs occurred at the Museum of Modern Art in a 1967 show called New Documents, curated by John Szarkowski. The show also featured the work of Garry Winogrand and Lee Friedlander. Some of her artistic work was done on assignment. Although she continued to photograph on assignment (e.g., in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina for Esquire magazine), in general her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called From the Picture Press; it included many photographs by Weegee whose work Arbus admired. Using softer light than in her previous photography, she took a series of photographs in her later years of people with intellectual disability showing a range of emotions. At first, Arbus considered these photographs to be "lyric and tender and pretty," but by June, 1971, she told Lisette Model that she hated them. Associating with other contemporary photographers such as Robert Frank and Saul Leiter, Arbus helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s. Among other photographers and artists she befriended during her career, she was close to photographer Richard Avedon; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized as detailed frontal poses. Another good friend was Marvin Israel, an artist, graphic designer, and art director whom Arbus met in 1959. Arbus experienced "depressive episodes" during her life similar to those experienced by her mother, and the episodes may have been made worse by symptoms of hepatitis. Arbus wrote in 1968, "I go up and down a lot," and her ex-husband noted that she had "violent changes of mood." On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus took her own life by ingesting barbiturates and slashing her wrists with a razor. Marvin Israel found her body in the bathtub two days later; she was 48 years old.Source: Wikipedia
Paolo Roversi
Italy
1947
Paolo Roversi is an Italian-born fashion photographer based in Paris. His work is distinguished by soft, monochromatic images of women, with bodies veiled in shadow and captured with careful care to emphasize stunning facial features. Photography goes beyond the limits of reality and illusion. It brushes up against another life, another dimension, revealing not only what is there but what is not there. -- Paolo Roversi Paolo Roversi, who was born in Ravenna in 1947, became interested in photography as a teenager during a family vacation in Spain in 1964. Back at home, he established a darkroom in a convenient cellar with another keen amateur, local postman Battista Minguzzi, and began developing and printing his own black-and-white work. The meeting with a local professional photographer, Nevio Natali, was crucial: in Nevio's studio, Roversi spent many hours completing an important apprenticeship as well as a close and lasting friendship. In 1970, he began working with the Associated Press, and his first assignment was to cover Ezra Pound's burial in Venice. During the same year, Paolo Roversi founded his first portrait studio in Ravenna, capturing local celebrities and their families. In 1971, he met Peter Knapp, the legendary Art Director of Elle magazine, by chance in Ravenna. Paolo visited Paris in November 1973 at Knapp's invitation and has never returned. Paolo began working as a reporter for the Huppert Agency in Paris, but through his friends, he gradually began to explore fashion photography. But the photographers who piqued his interest at the time were reporters. Paolo Roversi knew nothing about fashion or fashion photography at the moment. Later, he discovered the work of Richard Avedon, Irving Penn, Helmut Newton, Guy Bourdin, and many others. In 1974, the British photographer Lawrence Sackmann hired Paolo as an assistant. Paolo endured Sackmann for nine months: "Sackmann was very difficult. Most assistants only lasted a week before running away. But he taught me everything I needed to know in order to become a professional photographer. Sackmann taught me creativity. He was always trying new things even if he did always use the same camera and flash set-up. He was almost military-like in his approach to preparation for a shoot. But he always used to say ‘your tripod and your camera must be well-fixed but your eyes and mind should be free’." Then he went freelance, doing small jobs for magazines like Elle and Depeche Mode until Marie Claire published his first major fashion story. When I take a picture using window light, I always think about what a long trip the light is making to reach my subject. -- Paolo Roversi Roversi's portfolio now includes celebrity and fashion photography. He has been a consistent contributor to American Vogue, and Vogue Italia, W, Vanity Fair, Interview and i-D. He has also photographed advertising campaigns for Yohji Yamamoto, Comme des Garçons, Dior, Cerruti, GIADA, Yves Saint Laurent, Valentino and Alberta Ferreti. Continuing to be a major force in contemporary fashion, Paolo Roversi is notable for his use of 8x10 Polaroid film, which is no longer produced. His work has been the subject of solo exhibitions worldwide, including at Pace MacGill Gallery in New York, James Gallery in Moscow, and Comme des Garçons in Tokyo, Rencontres d'Arles festival, France (2008), among others.
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