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Magdalena Berny
M
Magdalena Berny
Magdalena Berny

Magdalena Berny

Country: Poland
Birth: 1976

Magdalena Berny is a graduate from the Pozna? University of Physical Education, self-taught photographer, passionate, mother of two. Over the years, she managed to create her own quite distinctive style. Works by Magdalena were published in Polish and foreign press dedicated to photographs, illustrations used as guides to photographing children and for projects of book covers.
About her:" Children as the subject of my photos appeared with their coming into the world. They were and are the cause, they determine the choice of subject of my photos. Photography for me is not only to catch the moments lived with children is also a record of my own emotions, sometimes stronger, sometimes weaker. How I " steal " look and emotions of children is due in large part to my own feelings. In addition to the joy and smile on my photographs often guests reflection, thoughtfulness and even sadness. In photography,I avoid references to the modern world while I often try to embed them in a climate of fairy tales. The inspiration for me as a photographer is all that surrounds me - broadly defined art, but also the place where I live every day as well as those that I manage to visit , and would later become sceneries of my photos".

Website

www.magdalenaberny.com

 

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More Great Photographers To Discover

Anna Försterling
Anna Försterling
Germany
1995
Anna Försterling is a German photographer specializing in artistic nude and portrait photography. She was born in 1995 and grew up in Saxony, near Dresden. She successfully completed her training as a photographer from 2014 to 2017 and has been working as an independent photographer in Freiberg (Saxony) since January 2021. Her work is all about minimalism and body shapes. Skin plays an important role for her, as skin is one of the most important and exciting means of expression of character and soul. She also wants to show emotion and soul in her portraits and usually reduces to a presentation in black and white. Anna photographs her work exclusively analog and mostly on black and white film and develops her films herself.
William Castellana
William Castellana
United States
1968
William Castellana is an award-winning photographer whose images have been published internationally in periodicals such as Silvershotz (The International Journal of Contemporary Photography), Rangefinder, Creative Quarterly (The Journal of Art & Design), Newsweek, Time, New York, and others. His photographs reside in the permanent collections of over 40 museums in the US including the Hood Museum of Art, Museum of the City of New York, Museum of Modern Art Library, Yale University Library, New Britain Museum of American Art, Southeast Museum of Photography, and the Hunter Museum of American Art. About the Series Street photography, in terms of the "unposed," is a practice that serves the compelling need to distill the ebb and flow of visually complex interactions into static form - forever fixed and with meaning. It is this desire to understand more deeply the rhythms of humanity that takes me to the streets in search of clarity. In their simplest sense, the images in this series form a social document of a people and a place; namely, a sect of Hasidic Jews known as the Satmars. This sect of Hasidic Jews was founded in Satu Mare, Romania by Rabbi Joel Teitelbaum in the early 20th century. After WWII, Teitelbaum settled in Williamsburg, Brooklyn to lay the groundwork for a religious ideology that would launch one of the largest Hasidic movements in the world. Since Teitelbaum's death, the Satmar community has grown exponentially and continues to thrive economically and spiritually through closely observed traditions and social mechanisms. Between the fall of 2013 and 2014, I set out to photograph my neighbors in the one-half square mile area below Division Avenue, which demarcates the religious from the secular communities of Williamsburg, Brooklyn. The photographs in this book are constrained to the "neighborhood view," since my outsider status made access to a more privileged look impossible. As an outsider, what I witnessed through my camera during that period was forever new and unique compared to my everyday routine and what the rest of the city's inhabitants were pulsing to. For me, street photography is about the preservation of time and place - a kind of poetry that distills both in equal measure.
John Delaney
John Delaney
United States
1963
In today's growing global society the precious differences between our many world cultures are rapidly eroding away. What do we all lose when an ancient culture disappears and centuries of tradition are abandoned and then forgotten? For me, photography has become a way to speak out against this passing. It is a way to record an existence that may soon vanish, to capture and celebrate what it is that makes a people unique, not just in appearance, but also in spirit. The method and style of my photography is very traditional. My equipment has changed little in over a century. I travel with a large format wood view camera and a portable studio tent. My traveling studio not only controls the light but also serves as a common meeting ground in which my subjects present themselves. I give them little direction and I let serendipity rule the moment. The goal is to create a portrait that reveals something beneath the obvious: a sense of grace, nobility, or humanity. The photograph needs to be more than just an observation. It is my hope that the connection made between the subject and myself will be passed on to others through my work. My wish is to honor my subjects in a simple un-patronizing and respectful way. The images that are captured on film come to life for me in the darkroom. Irving Penn said, "A beautiful print is a thing in itself, not just a halfway house on the way to the page". I love to dig deep into a negative to create a print that is full of the light, textures, and depths of expression that I experienced in the field. The result should be an image that not only tells a story about its subject, but is also a beautiful object in itself. Native Americans referred to photographers of the 19th century as "shadow catchers", and feared that the camera would steal away their spirit. That, in fact, is exactly what I hope to do. Not only to capture light, but also the "essence" of the people I photograph. In this way maybe I can preserve more than just a moment before it fades away into time.My love of photography began when I discovered Irving Penn's Worlds in a Small Room. Penn's work, as well that of Bruce Davidson, sparked my creative imagination. I attended Rochester Institute of Technology where I was taught the science and history of photography. But my real education began at the Richard Avedon Studio. I started as his studio assistant then eventually became his master printer. For 15 years I observed his passion, intelligence and meticulous craftmanship. That relationship opened the door to working with my original heros, Irving Penn and Bruce Davidson. Each of these masters informs and inspires my work. Mr. Penn for his wide range and love for the exquisite print; Davidson for the way he immerses himself in his subject, instilling trust; and Avedon with his intense preparation and skillfull cajoling, getting behind the "masks" of his subjects. Source: www.johndelaney.net
Christian Werner
Christian Werner
Germany
1987
Christian Werner is a freelance multimedia/photojournalist based in Boitzum, Germany. As a teenager he developed his interest in photography while traveling to foreign countries. In 2014 he graduated the photojournalism & documentary photography course at the University of Applied Sciences in Hannover. His main interests are social diversity and global political issues. The areas of interest is mainly the arabic world and culture. Chris worked in various countries in Asia, Africa, Eastern Europe and South America. His work has been exhibited internationally. He welcomes assignments local and overseas. Since 2012, Christian is represented by Agency Laif. Source: World Press Photo Chris, born in 1987, studied from 2009 to 2014 photojournalism and documentary photography at the University of Hanover. He works as a freelance photojournalist and published his photos and stories, among others, in Der Spiegel, Die Zeit, TIME Magazine, The Washington Post and many more. From 2012 -2016 Christian Werner was represented by the German reportage agency laif. In late 2016 Chris is represented by Zeitenspiegel. His photographic focus is the processing of social injustice, conflicts and geopolitical issues. His work has been awarded several times and frequently exhibited internationally. In 2015 Chris participated at the World Press Joop Swart Mastercalss in Amsterdam. 2016 Chris has been chosen in the 30 under 30 Europe Forbes List in the Media category. In late summer 2016 he begins working with MOAS (Migrant Offshore Aid Station). Chris worked in various countries in Asia, Africa, Eastern Europe and South America. Artist Statement "Rubble and Delusion - A Journey Through Assad's Syria With the fall of Aleppo, the regime of Bashar Assad once again controls the country's second-largest city. But is reconciliation possible in the country? A journey through the dictator's rump state. Our journey leads us to the three largest cities in northern and western Syria: Aleppo, Latakia and Homs. Aleppo has become symbolic of the brutal bombing campaign. Latakia, the regime stronghold on the Mediterranean, was largely untouched by the war and is still a popular vacation spot in the summer. And Homs, once the center of the uprising, was destroyed and is now slated to become a model of reconstruction."
Dirk Roseport
Dirk Roseport
Belgium
1955
Advertising creative director and self-taught photographer. Inspired by Jem Southam, Jonathan Smith, Mark Rothko, Mies van der Rohe, Mihokajioka, Hiroshi Sugimoto, Annie Leibovitz, Asako Naharashi and new discoveries every day... Roseport focuses on projects that he fills out thematically over several years. CLOSER TO THE GODS Closer To The Gods was created during the Covid era when, like many photographers, he fell back on previously created material; inhospitable plateaus and glaciers of Iceland, the mountain landscapes of the Pyrenees and the high altitude deserts of Ladakh. In Closer To The Gods, these are portrayed hard and directly in powerful, high-contrast black-and-white photography. Nature does not invite here, she imposes. Compelling, ominous, at times almost menacing. It is a nature that impresses and often looks as if it could insidiously swallow and crush us at any moment. TRANSCENDENTAL TRANQUILITY In his project Transcendental Tranquility he brings us seascapes, distilled to their essence, authentic without any post-processing. It all has to happen in the camera. If it doesn't happen there, it goes into the trash. Sometimes the oceans are no longer recognizable and they become Rothkosian color impressions, but his goal is not to show an ocean. The point is to create a scene that induces a state of tranquility in which what is perceived as troublesome in the psyche falls away. Nature does not impose itself here, but invites the viewer to drown in it and regain the peace that we so often lack today. Roseport sees the Transcendental Tranquility project as the antithesis of the Closer To The Gods work. FADING MEMORIES Always exploring, Roseport also created the Fading Memories project that invites viewers to create their own stories. Roseport: "As time passes, memories fade. What was once sharp, clear and vivid in our minds becomes blurred. Shapes and colors disappear. Bits and pieces are gone never to return. With Fading Memories, I try to visualize this feeling of losing the details. The images take on a dreamlike surreal atmosphere. And usually we will remember what has been forgotten, more beautifully - if hard or soft - than it actually was. That's what we do. That's how we survive. In Fading Memories, I know the story behind the image. The place. The time. The people. The viewers don't. There is an analogy here with projective tests like Rorschach, when ambigious stimuli reveal hidden emotions and internal conflicts. Thanks to what the viewers don't see, the images suggest more open stories than the ones I know. More open stories than they would see if the images were intact. So their minds will create their own story. Immediately. I invite them not to stop it. Have Fading Memories challenge their imagination."
Jimmy Nelson
Jimmy Nelson
United Kingdom
1967
Jimmy Nelson, born in 1967, embarked on a transformative journey across Tibet at age 17, captured by English National Geographic. He became a photojournalist, covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide. James Philip Nelson, born in 1967 in Sevenoaks, Kent, led a diverse childhood marked by travels across Africa, Asia, and South America alongside his father, a geologist for International Shell. At 16, he developed Alopecia totalis, triggered by stress and malaria medication. A year later, he embarked on a two-year trek across Tibet, capturing the journey with a small camera. Upon his return, his images were published by English National Geographic. Subsequently, Nelson ventured into photojournalism, documenting war zones and later commissioned by Shell Oil for Literary Portraits of China. Transitioning to commercial advertising in 1997, he continued to document remote cultures. In 2010, Nelson embarked on his second book, Before they Pass Away, a three-year endeavor photographing over 35 indigenous tribes worldwide. Using a 50-year-old 4x5in camera, Nelson drew inspiration from Edward S. Curtis, aiming to romantically portray his subjects. He emphasized that the project was not about factual accuracy but rather his artistic interpretation of diversity and beauty. Tribes photographed included the Huli and Kalam tribes of New Guinea, the Tsaatan of Mongolia, and the Mursi people of Ethiopia's Omo River valley. Financing came from Dutch billionaire Marcel Boekhoorn, resulting in a published book with photographs, texts, and limited editions. In September 2018, Nelson released his third book, Homage to Humanity, featuring over 400 photographs showcasing 30 indigenous cultures. The book includes interviews with tribal members, infographics about the depicted locations and cultures, and an application incorporating 360° film material linked to the images, along with behind-the-scenes videos and travel background information. Nelson collaborated with assistant Stephanie van der Wiel, whom he met at Leiden's National Museum of Ethnology. "Homage to Humanity" aims to be more inclusive than Nelson's previous work, addressing criticisms of his earlier book, "Before they Pass Away." Papuan chief Mundiya Kepanga emphasizes in the foreword the importance of preserving cultural values and identity for future generations.
Werner Bischof
Werner Bischof
Switzerland
1916 | † 1954
Bischof was born in Zürich, Switzerland. When he was six years old, the family moved to Waldshut, Germany, where he subsequently went to school. In 1932, having abandoned studies to become a teacher, he enrolled at the Kunstgewerbeschule in Zürich, where he graduated cum laude in 1936. From 1939 on, he worked as an independent photographer for various magazines, in particular, du, based in Zürich. He travelled extensively from 1945 to 1949 through nearly all European countries from France to Romania and from Norway to Greece. His works on the devastation in post-war Europe established him as one of the foremost photojournalists of his time. He was associated into Magnum Photos in 1948 and became a full member in 1949. At that time Magnum was composed of just five other photographers, its founders Robert Capa, Henri Cartier-Bresson, George Rodger, David Seymour, and Ernst Haas. The focus of much of Bischof's post-war humanist photography was showing the poverty and despair around him in Europe, tempered with his desire to travel the world, conveying the beauty of nature and humanity. In 1951, he went to India, freelancing for Life, and then to Japan and Korea. For Paris Match he worked as a war reporter in Vietnam. In 1954, he travelled through Mexico and Panama, before flying to Peru, where he embarked on a trip through the Andes to the Amazonas on 14 May. On 16 May his car fell off a cliff on a mountain road in the Andes, and all three passengers were killed. Source: Wikipedia Werner Bischof was born in Switzerland. He studied photography with Hans Finsler in his native Zurich at the School for Arts and Crafts, then opened a photography and advertising studio. In 1942, he became a freelancer for Du magazine, which published his first major photo essays in 1943. Bischof received international recognition after the publication of his 1945 reportage on the devastation caused by the Second World War. In the years that followed, Bischof traveled in Italy and Greece for Swiss Relief, an organization dedicated to post-war reconstruction. In 1948, he photographed the Winter Olympics in St Moritz for LIFE magazine. After trips to Eastern Europe, Finland, Sweden and Denmark, he worked for Picture Post, The Observer, Illustrated, and Epoca. He was the first photographer to join Magnum with the founding members in 1949. Disliking the ‘superficiality and sensationalism’ of the magazine business, he devoted much of his working life to looking for order and tranquility in traditional culture, something that did not endear him to picture editors looking for hot topical material. Nonetheless, he found himself sent to report on the famine in India by Life magazine (1951), and he went on to work in Japan, Korea, Hong Kong and Indochina. The images from these reportages were used in major picture magazines throughout the world. In the autumn of 1953, Bischof created a series of expansively composed color photographs of the USA. The following year he traveled throughout Mexico and Panama, and then on to a remote part of Peru, where he was engaged in making a film. Tragically, Bischof died in a road accident in the Andes on 16 May 1954, only nine days before Magnum founder Robert Capa lost his life in Indochina. Source: Magnum Photos
Julian Elliott
Julian Elliott
United Kingdom
1975
Julian Elliott has been a professional landscape and travel photographer for over 15 years. Having started writing for a number of British photography magazines, he started selling his work through the world-renowned Getty Images. To date, his work has sold in over 40 countries, and he has travelled in over 40 countries, capturing the world around him. As a travel photographer, Julian likes to specialize in the people, culture, architecture and landscapes of the places he visit. He is particularly drawn to Southeast Asia and Central Asia. Awarded Photographer of the Week - Week 51, 2025
Ian McFarlane
Ian McFarlane
United States
1970
Ian McFarlane is a portrait and commercial photographer living in Athens Georgia. Ian began his love for photography his senior year in high school, knowing he would go in to the arts, he attended The University of Georgia Lamar Dodd School of Art. By his senior year he already knew that photography would be the path he would travel for the rest of his life. During his last year at UGA he became custom darkroom printer and photo consultant for Michael Stipe, lead singer for the band REM. For the next 8 years Ian worked closely with Michael, printing his personal photos and helped guide him on his journey back to his love for photography. In 1998 Ian printed the photographs for Micheals first book, 2 Times Intro: On The Road with Pattie Smith. Ian had his first solo show in 1998 with Jane Jackson Fine Art in Atlanta Ga. Where he was represented until 2005. In 2000 Ian took the leap to open his own studio and began shooting for Publication all over the country. Over the last 23 years Ian has continued to work as a freelance photographer as well as shooting personal B/W portrait projects. During the last 3 years Ian has worked on two portrait series dear to his heart. My Mother's Daughter, which is based on the loss of his mother to dementia and currently shooting, Welcome Ukrainian Refugees in Georgia. ''My true love for photography is the portrait. I only use natural light, finding that special patch of light and allowing the silent dance to begin.''
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