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Michal Karcz
Michal Karcz
Michal Karcz

Michal Karcz

Country: Poland
Birth: 1977

I was born in 1977 in Warsaw, Poland. I had graduated from the High School of Art in Warsaw. My journey into the world of photography began in the early 90's, but at that time my biggest passion was painting. Painting helped me develop vision that was hard to create. Unfortunately I had to leave the paintbrush and canvas. A few years ago, I opened "the door" to my own world with help of a different key... My early fascinations of painting and photography was combined into one piece, with use of digital tools. This digital photography and software gave me the opportunity to generate unique realities that are impossible to create with ordinary dark room techniques. Most of my work is the journey to the places which don't exist, places from my dreams, desire and imagination. I'm taking my inspiration from many artists and it doesn't matter if they get across to me by sense of vision or hearing I always try to make an extraordinary picture and my goal is to make a viewer stop for a minute, to influence on emotions and take away from reality. Am I making it happen?. appraise yourself.

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www.michalkarcz.com

 

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Taralynn Disher
Taralynn Disher
Canada
I am not the collection of words you’re about to read, but rather a mere description of who I was that has led me to become who I am today and the person I will be tomorrow. Taralynn Disher is a Canadian-Native-born artist and creative turned professional photographer with a background in dentistry. Disher’s calling as a photographer began at the age of 16. During this time, her frustration with not finding reference images she would envision as part of her painting process, fuelled her to pursue photography to bring her visions to life.
Carolyn Hampton
Carolyn Hampton
United States
Born and raised in Southern California, Carolyn Hampton first fell in love with photography at the age of 10 when her parents gave her a Pentax camera for her birthday. With camera always in hand, Carolyn went on to live in two European countries, travel the world, and learn to speak several languages. On a long trip by herself to Sub-Saharan Africa, shooting many rolls of film in that beautiful light amid a wild and unpredictable landscape, an artistic spark was ignited. That passion for photography grew with the birth of her daughter, when Carolyn was inspired to recreate childhood dreams, memories, rituals and fantasies. With her daughter as her muse, and using artifacts that have been passed down through generations of her family, Carolyn’s work is intensely personal and often carries symbolic meaning. Her intention is to create a timeless image that calls to mind the beginning of a story of childlike innocence, for which the viewer can determine what happens next. Many of us are captivated by the same visions, stories and themes, either subconsciously or consciously, because of our shared human experience. Carolyn’s work is held in private collections, including that of Jock Sturges, Kim & Gina Weston, and the Center for Fine Art Photography, has been exhibited in galleries and fine art festivals worldwide, and has been published in books, magazines, newspapers, exhibition catalogues, and on popular blogs. Source: www.carolynhampton.com
Lucien Clergue
Lucien Clergue
France
1934 | † 2014
Lucien Clergue was born in Arles. From the age of 7, he learned to play the violin. Several years later, his teacher revealed to him that he had nothing more to teach him. From a family of shopkeepers, he could not pursue further studies in a conservatory. In 1949, he learned the rudiments of photography. Four years later, at a corrida in Arles, he showed his photographs to Pablo Picasso who, though subdued, demanded to see others. Within a year and a half, young Clergue worked with the goal of sending photos to Picasso. During this period, he worked on a series of photographs of traveling entertainers, acrobats and harlequins, the Saltimbanques. He also worked on a series whose subject was carrion. On 4 November 1955, Lucien Clergue visited Picasso in Cannes. Their friendship lasted near 30 years until the death of the Master. The book, Picasso my Friend retraces the important moments of their relation. Clergue has taken many photographs of the gypsies of southern France, and he was instrumental in propelling the guitarist Manitas de Plata to fame. In 1968 he founded, along with his friend Michel Tournier the Rencontres d’Arles photography festival which is held in Arles in July. His works was presented during the festival from 1971–1973, 1975, 1979, 1982–1986, 1989, 1991, 1993, 1994, 2000, 2003, 2007. Clergue has illustrated books, among these a book by writer Yves Navarre. Clergue’s photographs are in the collections of numerous well-known museums and private collectors. His photographs have been exhibited in over 100 solo exhibitions worldwide, with noted exhibitions such as 1961, Museum of Modern Art New York, the last exhibition organized by Edward Steichen with Lucien Clergue, Bill Brandt and Yasuhiro Ishimoto. Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts, Boston. His photographs of Jean Cocteau are on permanent display at the Jean Cocteau Museum in Menton, France. In the US, the exhibition of photographs of Jean Cocteau was premiered by Westwood Gallery, New York City. In 2007, the city of Arles honored Lucien Clergue and dedicated a retrospective collection of 360 his photographs dating from 1953 to 2007. He also received the 2007 Lucie Award. He is named knight of the Légion d'honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on 31 May 2006, on the creation of a new section dedicated to photography. Clergue is the first photographer to enter the Academy to a seat devoted to photography.Source: Wikipedia (…) Until I saw Picasso…I lived in the most perfect solitude and did my work without thinking of anything beyond that. After seeing Picasso and being received by him in Cannes when he repeated: “I’ve never seen anything like it, I’ve never seen anything like it”, I thought, or rather I let myself be convinced that despite my 21 years the time had perhaps come to begin showing my work. -- Correspondence Jean Cocteau, Lucien Clergue Lucien Clergue frequented Pablo Picasso for twenty years, being received on numerous occasions at his villa the California, in Cannes and at Notre-Dame-de-Vie in Mougins where he made his last portrait of the artist in 1971, two years before his death. Picasso, enthusiastic about Clergue’s images of dead animals and the circus children, considered him to be a greater photographer than Henri Cartier Bresson, and complimented him by saying: Clergue’s photographs are the good Lord’s sketchbooks! Or again was quoted in one of Cocteau’s lettres to Clergue, dated 1956: Picasso told me… his complete admiration for your series Stomachs. “You could, he said, sign Renoir”. Thanks to Picasso, the young photographer was able to meet not only Jean Cocteau, but also the historian and art collector Douglas Cooper, who opened up his extraordinary collection of books and artworks to the young man, avid for visual stimulation. Picasso’s generosity to Clergue and his admiration for the work of the budding photographer resulted in many collaborations, notably Picasso’s illustration for the cover of Corps mémorable in 1957, where Clergue’s images accompanied Paul Eluard’s poems; or again, the poster for Clergue’s first exhibition in Cologne in 1958 and then the cover for the book Poesie der Photographie in 1960.Source: lucien-clergue.com
Mary Anne Mitchell
Mary Anne Mitchell
United States
Mary Anne Mitchell is a fine art photographer working primarily with analog processes. Her most recent series Meet me In my Dreams is shot using wet plate collodion. The images depict situations, often mysterious, which evoke her southern roots. She recently was a finalist in the 8th Edition of the Julia Margaret Cameron Awards and has been invited to exhibit some of this series in the 4th Biennial of Photography to be held in Berlin. Her work has been exhibited in solo and group exhibitions across the country and can be found in private and corporate collections across the US, Dubai, Taiwan, and Canada. She lives in Atlanta, GA. Source: www.maryannemitchellphotography.com About Meet Me in My Dreams, 2018 "This series is inspired by my poem Meet Me in My Dreams. The setting for many of the images is a fairytale landscape. My use of the young people celebrates the universal feeling of limitless potential that most people experience in their youth. The ghostlike figures are reflections of the later years when beauty and youth begin to fade. They suggest the feeling that one is becoming invisible and yet still present and powerful. The work speaks to family, memory, and the ethereal passage of time. The images are created using wet plate collodion. I scan and enlarge them to enhance the organic qualities of the medium. These are the elements of my dreams." -- Mary Anne Mitchell Meet Me in My Dreams Walking through the forest of my dreams I see a varied cast of characters. Some are known And some are strangers. Some are real, Some imagined. I catch a glimpse of something yet I look again and nothing is there, perhaps scattered by the wind. My eyes are tricked by the play of light on each and every tree. I sometimes sense I am not alone and someone watches me. The stories told are mine alone. Imagination fuels my memories and my vision is revealed. I invite you to come and meet me in my dreams. Interview with Mary Anne Mitchell All About Photo:I am a Georgia native and have exhibited my work in solo and group exhibitions throughout the United States. My photographs have been featured in online publications such as Burn and Plates to Pixels and can be found in private and corporate collections around the country. AAP: When did you realize you wanted to be a photographer?As a freshman in college, I bought a 35mm camera and took a class to learn how to use it and fell in love! AAP: Where did you study photography?Received a BFA from UGA in Athens, GA AAP: What or who inspires you?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. My kids are currently my muses. AAP: How could you describe your style?Much of my work captures authentic moments in atmospheric b/w. AAP: What kind of gear do you use?I shoot film and use mostly 35mm Nikon cameras or Holga or Blackbird Fly plastic cameras. AAP: Do you spend a lot of time editing your images?In darkroom some dodging and burning. AAP: Favorite(s) photographer(s)?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. There are so many contemporary photographers doing amazing work...hard to pick... really love Vivian Maier and her whole backstory is so fascinating. AAP: What advice would you give a young photographer?Shoot constantly but selectively. AAP: Your best memory has a photographer?Strolling anywhere in Europe, camera in hand! AAP: Your worst souvenir has a photographer?A soaking wet Nikon and lens after being knocked over in a canoe while trying to get an incredible shot!
Raymond Cauchetier
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
John R. Pepper
John R. Pepper
Italy
1958
John Randolph Pepper, (1958) is an Italian photographer, screenwriter, theatre and film director, the son of sculptress Beverly Pepper and journalist/writer Curtis Bill Pepper, editor of Newsweek and manager of its Rome office. He was born and raised in Rome; lives in Palermo and works worldwide. Pepper started his career in Black & White analogical photography with an apprenticeship to Ugo Mulas at 14. He published his first photograph at 15 and had his first show at 17. He studied History of Art at Princeton University, where he was also the youngest member of the exclusive painting program, '185 Nassau Street'. He then became a 'Directing Fellow' at The American Film Institute, (Los Angeles) and subsequently worked as a director in theatre and film for 20 years. For thirty years, he dedicated himself to photography while directing both theatre and film. During that time he continued to take photographs with his Leica camera always using the same Ilford HP5 film stock. John R. Pepper, represented by the Art of Foto Gallery (St. Petersburg, Russia) and The Empty Quarter Gallery (Dubai, UAE), is a 'Cultural Ambassador' of numerous Italian Institutes of Culture in may parts of the world. Since 2008 he has exhibited his different projects 'Rome: 1969 - An Homage to Italian Neo-Realist Cinema', 'Sans Papier', 'Evaporations' in the United States, France, Italy, the Middle East and Russia. He has published three books and is represented in several major museums around the world. Since 2015 Pepper has been working on his project 'Inhabited Deserts', where he explores deserts and their effect on time, history and people. 'Inhabited Deserts' debuted in Paris in November 2017; in September 2018, with the support of the Italian Embassy in Iran and the Italian Foreign Ministry, Pepper exhibited at the Aaran Projects Gallery in Tehran where he was one of the first Italian photographers since the Iranian Revolution of 1979. In November 2018, after participating at Paris Photo with the Galerie Sophie Scheidecker, 'Inhabited Deserts' went to Tel Aviv, Israel, representing Italy at the 6th International Photo Festival 'Photo Is:Rael'. From December 12th 2018 to February 15th Inhabited Deserts was presented at The Empty Quarter Gallery in Dubai, U.A.E. with curatorial text by Kirill Petrin. Subsequently the show opened on March 19, 2019 in Saint Petersburg, Russia, at the Art of Foto Gallery and shortly thereafter, on April 18th, it returned to Tel Aviv at the NOX Contemporary Gallery. In 2020 Inhabited Deserts will be seen in the United States and Italy. Per John Pepper "When talking about photography, we're talking about time. The image is fixed in time. We also talk about black and white and color, digital and film, reality and punctum - the critical concept of the French philosopher Roland Barthes, denoting the wounding, personally touching detail, which establishes a direct relationship with the object or person within it. Is a photographer an artist or not? The ones who feel they are, modestly define themselves as artisans. Still others, who do not think of themselves as photographers will snap photos relying on destiny's outcome. Finally, there are the ones who fantasize conceptual sequences snapped in extravagant situations - most of which without interest. About photography, much has been said. There are established masters, schools of thought, and many hopes. Yet whoever is sufficiently open to a vision within himself, who has cherished and assimilated the masters, will emerge with something new. Passion triumphs when backed by culture. When looking at one of John Pepper's photographs - the one with the group of people, friends and family, in front of their home, for example - I think of Paul Strand's image in his book, published with Zavattini 'Un paese' del 1955. There is a similar gathering of characters at the doorstep of their home. Time here is not just in the shutter time and lens aperture - a sixtieth of a second at eight - but in the transformation of the people, in the process of revealing themselves. With John, however, the appearances differ from those of Strand - moved up in time as evident in the shoes and pants, the motorcycle helmet, the technology of the wheelchair and the modern necklace of the young girl. They appear happy and to be speaking to the photographer. Despite some apparently expensive upper-class possessions, we perceive they are of a modest condition. In Strand's photograph, there is no doubt they are of peasant culture. Motionless, they stare at the photographer with a serious gaze, though ignorant of the world of images. Today, image is consumerism. It goes beyond diffidence. Everyone can have a camera, a motorcycle helmet and Nike shoes. People are well nurtured; they have even grown in height. With John the scene is of movement. The characters interact with ease, and the photographer is part of the game. He uses black and white film enhanced by the fine art of printing - images stemming from classical photography. John was just a boy when he came to my house in Milan, in piazza Castello, above the studio that once belonged to Ugo. I like to think that the darkroom at that time influenced him. Who knows? However, I do believe that Ugo's work helped him to become a photographer. His reportage in Italy is filtered through the memory of many great photographers - Diane Arbus, Cartier Bresson, Robert Frank, the first Richard Avedon, and William Klein to name a few. He has also traveled through Italy, in the streets and byways of youth, finding dramatic, enlightened faces in the theater of life. His portrait of the religious procession is most beautiful, with a perfect, compact, composition, among astonished angels and those bearing a religious float against a sharp background of light. John lives and works in Palermo, an outward antithesis of New York. An American born and raised in Italy, it is as an Italian that he grasps the vital spirit, the soul, and the humanity of people. His choice to live in a region like Sicily, so full of contradictions and archaic values, will surely help him in chronicling the history of change in our era. Then, apart from making art, he will have absorbed it as his own - a part of his life that will recur in defining time, space, and the evolution of the human condition." Antonia Mulas, Todi, May 5, 2012
Priyo Widdi
Priyo Widdi
Indonesia
1973
Travel and street photography has always been my passion. I am especially interested in the subject of social life around me. I love to capture so many essential values in life through photography. I also have been working as a content creator about photography. Statement ''Capturing many life moments makes us to be more grateful about our own lives.''
Aga Szydlik
Aga Szydlik
United States
Aga began her professional career in Thailand as a fight photographer, where she developed a passion for Muay Thai. Later, she moved to Indonesia and South Africa for new experiences. Aga works with different NGOs and as an independent contributor, aiming to capture the essence of the people Aga photographs in a powerful and meaningful way. She actively supports human rights movements, environmental protection, and conservation efforts.
Valerio Nicolosi
Valerio Nicolosi
Italy
1984
Valerio Nicolosi, filmmaker and photojournalist based and born in Rome in 1984, has always had a passion for photography and video. In 2008 he graduated with highest honours from the 'Experimental Television Center' in Rome. He is always looking for the "human factor" on his photos. He made few reportages from the Syrian-Lebanon border about the crises of refugees and the humanitarian corridors. He made Italian and european network and investigative journalism programs for which he has made many reportages on the issue of immigrants and in particular in the "Jungle of Calais". He also covered the terrorist attacks both in Paris and Brussels. During the months of October and November 2016 he followed the US elections making a series of reportages together with the journalist Giovanna Pancheri, broadcast by SkyTg24. Most of the reportages were about human condition on suburbs of America. Making the documentary "Death Before Lampedusa" for the German national TV, ARD, he followed the operation "Mare Nostrum" on board the Italian military vessels deployed in the recovery of boats coming from Africa. He has made numerous music videos with Italian and Palestinian singer/songwriters and has published three books of short stories and photography, "Bar(n)Out", "Be Filmmaker in Gaza" "(R)Esistenze". He spent more than 20 days on board the "Proactiva Open Arms" boat, a Spanish NGO whose main mission is to rescue refugees from the sea that arrive in Europe fleeing wars, persecution or poverty. On that 3 weeks they rescued 86 refugees. He is just come back from the Gaza Strip where he taught filmmaking and did some reportages about fishermen and daily life. He also works as an occasional lecturer with the 'Audio-visual Journalism Tribune' at La Sapienza University and the Palestinian Al-Aqsa and Deir El-Balah, both located in the Gaza Strip. He collaboreted with the international press agency Reuters and currently he collaborates with Associated Press. Discover Valerio Nicolosi's Interview
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AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
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