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Yves Marchand & Romain Meffre
© Jules Hidrot
Yves Marchand & Romain Meffre
Yves Marchand & Romain Meffre

Yves Marchand & Romain Meffre

Country: France

Marchand (b.1981) and Meffre (b.1987) live and work in Paris. Initially pursuing photography individually, they met online in 2002 and started working together with the beginning of their Detroit project in 2005. Steidl published The Ruins of Detroit in 2010. A second printing is planned for later this year.

They are currently completing their Gunkanjima book, also to be published by Steidl, and they continue to work on a project documenting American theaters that have either fallen into decay or been transformed entirely. Their work has been exhibited extensively throughout Europe and has been featured in the New York Times, The Guardian, The British Journal of Photography, TIME Magazine, amongst others.

Source: Edwynn Houk Gallery



About Theaters (2005-Ongoing)
In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums.

From the 60's, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished.


About Gunkanjima (2008-2012)
In the South China Sea, 15 kilometers off the southwest coast of Nagasaki among the thousands of verdant landmasses that surround Japan, lies a mysterious island. With the geometric silhouette of a dark gray hull, perforated by hundreds of small windows, the island resembles a battleship. As one moves closer, approaching by sea, the figure takes shape again and the ghost ship turns into a block of concrete surrounded by a high wall on which waves crash - the island looks like a Japanese version of Alcatraz. Only 40 years ago, this tiny island was home to one of the most remarkable mining towns in the world and maintained the highest population density in the world.

During the wave of industrialisation in the nineteenth century, a coal seam was discovered on the tiny Hashima island. In 1890 the Mitsubishi Corporation opened a mine on the island. For decades coal production sustained Japan's modernisation and helped establish its position as an industrialised nation and imperial power. Workers settled on the island and the population increased. Mine slag was used to expand the surface of the colony; piling up on itself like an ant hill. The small mining town quickly became an autonomous modern settlement (with apartment buildings, a school, hospital, shrine, retail stores and restaurants) which mimicked the other settlements on the Nippon archipelago. One multi-storied concrete apartment block with its brutal and rational style followed another, until the tiny island became the most densely populated place in the world per square meter with over 5,000 inhabitants in the 1950s.


About The Ruins of Detroit (2005-2010)
At the end of the XIXth Century, mankind was about to fulfill an old dream. The idea of a fast and autonomous means of displacement was slowly becoming a reality for engineers all over the world. Thanks to its ideal location on the Great Lakes Basin, the city of Detroit was about to generate its own industrial revolution. Visionary engineers and entrepreneurs flocked to its borders.

In 1913, up-and-coming car manufacturer Henry Ford perfected the first large-scale assembly line. Within few years, Detroit was about to become the world capital of automobile and the cradle of modern mass-production. For the first time of history, affluence was within the reach of the mass of people. Monumental skyscapers and fancy neighborhoods put the city's wealth on display. Detroit became the dazzling beacon of the American Dream. Thousands of migrants came to find a job. By the 50's, its population rose to almost 2 million people. Detroit became the 4th largest city in the United States.

 

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More Great Photographers To Discover

Arthur Leipzig
United States
1918 | † 2014
Arthur Leipzig (October 25, 1918 – December 5, 2014) was an American photographer who specialized in street photography and was known for his photographs of New York City. Leipzig was born in Brooklyn. After sustaining a serious injury to his right hand while working at a glass wholesaler, Leipzig joined the Photo League where he studied photography, took part in Sid Grossman's Documentary Workshop, taught Advanced Technique classes for three years, and exhibited his work. From 1942 until 1946 he was a staff photographer for PM. He also studied under Paul Strand before quitting the League to pursue a career as a freelance photojournalist. In 1955 Leipzig's 1943 photograph King of the Hill, depicting two little boys challenging each other on a sand heap, was selected by Edward Steichen for the world-touring exhibition The Family of Man at the Museum of Modern Art in New York, that was seen by 9 million visitors. Leipzig was a professor of art and the director of photography at the CW Post Campus of Long Island University from 1968–1991. In an effort to build his department and enhance the quality of photographic techniques, Leipzig recruited two well-known photojournalists, Louis Stettner and Ken Johnson (formerly a photo editor with Black Star) to his staff. He also recruited the now, highly regarded female photographer, Christine Osinski. Leipzig contributed his work to many publications including Fortune, Look, Parade, and Natural History, while continuing to pursue his independent projects. In 2004, he won the Lucie Award for Outstanding Achievement in Fine Art Photography. Leipzig died in Sea Cliff, New York on December 5, 2014, aged 96.Source: Wikipedia Leipzig shot thousands of rolls of film over five decades, producing beautifully constructed yet socially powerful photographs that take a sincere look at street life. Among the most memorable are photo essays on children’s street games, city workers atop the Brooklyn Bridge, Coney Island, and V-Day. Leipzig candidly captured New York’s favorite personalities as Louis Prima, W.C. Handy and Mayor La Guardia. His assignment locales outside of New York City included Peru, Sudan, and the Sahara, as well as places closer to home like West Virginia, Kansas and Jones Beach. Acclaimed as a sensitive and impassioned documentary photographer, Arthur Leipzig has always directed his camera toward the human condition and his deep love of people, shooting in a straightforward fashion, never forcing the moment but rather allowing a human story to transform simply and spontaneously. As a result, his photographs depict the human community with great intimacy and dynamic energy.Source: Howard Greenberg Gallery Arthur Leipzig's photography is represented in the permanent collections of The Museum of Modern Art, The Brooklyn Museum, The National Portrait Gallery, The Jewish Museum, and The Bibliothèque nationale de France. His solo exhibitions include Arthur Leipzig: a World View at the Howard Greenberg Gallery, Growing Up in New York at the Museum of the City of New York, Jewish Life Around the World at the Nassau County Museum of Fine Art.Source: Jackson Fine Art
Zied Ben Romdhane
Zied Ben Romdhane (b. 1981, Tunisia) started his career as a commercial photographer. In 2011 he switched to documentary photography and photojournalism. His work has been featured in The New York Times and The Washington Post His recent exhibitions include Views of Tunisia (Arles 2013), After the Revolution (White Box, NY 2013), and Zones d’Attente (Clark House, Bombay 2013), Kushti (Maison de la Tunisie, Paris 2013), Fotofest Biennial in Houston Center for Photography (Houston , USA 2014), Sahel (1×1 Gallery, Dubai 2014), Trace (MUCEM, Marseille 2015) , Afrotopia African biennale of photography (Bamako , Mali 2017), and the Biennale of the photographs of the contemporary Arab world (France , Paris 2017). Romdhane published his first book West of Life in 2018 with Red Hook Editions. Prizes and awards include, selection for the Prize 6X6 Global Talent Program 2018 with World Press Photo Foundation, participant of Joop swart masterclass with World Press Photo, winner of the POPCAP award (Africa Image, Basel, 2015). He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Ben Romdhane was a participant in World Press Photo’s 2013 Reporting Change initiative, member of the collective “Rawiya” and “Native”. Zied Ben Romdhane joined Magnum as a nominee in 2019.Source: Magnum Photos “Zied is a documentary photographer who is using aesthetics in a tasteful way to invite the audience to his stories. His work is not pushing facts but instead he uses careful compositions that leaves room for the viewer to reflect on the images and their content.” - Rebecca Simons, Finland, independent curator, editor, educator and 6x6 nominator. Zied Ben Romdhane is a Tunisian photographer. He won the POPCAP award in 2015, and his work has been featured in Irada and Dégage. He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Romdhane was also a participant in World Press Photo’s 2013 Reporting Change initiative.Source: World Press Photo
Peter Marlow
United Kingdom
1952 | † 2016
Peter Marlow (19 January 1952 – 21 February 2016) was a British photographer and photojournalist, and member of Magnum Photos. Born in Kenilworth, England, Marlow studied psychology at Manchester University, graduating in 1974. He began his photography career in 1975 working on an Italian cruise liner in the Caribbean before joining the Sygma news agency in Paris in 1976. In the 1970s Marlow worked in Northern Ireland, Angola, The Philippines and Lebanon primarily as a war photographer, but soon found that the competition of photojournalism did not suit him. "I did get some very good pictures and was doing a lot of conflict work, but I just realised I was never ever going to be Don McCullin. And actually, in certain situations, I was very, very scared." He returned home to Britain and worked in Liverpool on an eight-year project, Liverpool – Looking out to Sea, which documented what he perceived to be a decline of the city under Margaret Thatcher. He became associated with Magnum Photos in 1980 and became a full member in 1986, having been attracted to the freedom the agency gives its photographers to work on personal projects. Alongside Chris Steele-Perkins, he founded Magnum's London office in 1987. He served as the agency's president twice and was vice-president numerous times. The photographer Martin Parr said it was “difficult to overestimate” Marlow's contribution to Magnum". He also worked regularly for The Sunday Times in the mid-1980s. In 1991 he received an assignment from the Somme department in France to photograph Amiens. Later he began to work abroad again, traveling to Japan, the United States, and other parts of Europe. His later photography is primarily in color. Though well known for his depictions of places, Marlow also documented politics with a collaboration with Tony Blair. Marlow died on 21 February 2016 from influenza contracted during a stem cell transplant as a treatment for multiple myeloma.Source: Wikipedia Although gifted in the language of photojournalism, Peter Marlow was not a photojournalist. He was initially, however, one of the most enterprising and successful young British news photographers, and in 1976 joined the Sygma agency in Paris. He soon found that he lacked the necessary appetite for the job while on assignment in Lebanon and Northern Ireland during the late 1970s; he discovered that the stereotype of the concerned photojournalist disguised the disheartening reality of dog-eat-dog competition between photographers hunting fame at all costs. After those days, Marlow’s aesthetic shifted – in that he made mainly color photographs – but his approach was unchanged. The color of incidental things became central to his pictures in the same way that the shape and mark of things had been central to his black-and-white work. Marlow had come full circle. He started his career as an international photojournalist, returned to Britain to examine his own experience, and discovered a new visual poetry that enabled him to understand his homeland. Having found this poetry, he took it back on the road: he photographed as much in Japan, the USA and elsewhere in Europe as he did in the UK.Source: Magnum Photos
Elisabeth Hase
Germany
1905 | † 1991
Elisabeth Hase (December 16, 1905 – October 9, 1991) was a German commercial and documentary photographer active in Frankfurt from 1932 until her death in 1991, at the age of 85 Hase was born in Döhlen bei Leipzig, Germany. She studied typography and commercial art from 1924 to 1929 at the School of Applied Arts, and later at the Städelschule, under, among other teachers, Paul Renner and Willi Baumeister. Hase was active as a photographer during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. She was able to avoid government oversight of her work by establishing her own photographic studio in 1933. Hase's work included surreal photography, such as close-up photographs of dolls. She received several awards, several for paper designs and collages. During a two-year collaboration in the studio of Paul Wolff [de] and Alfred Tritschler [de], Hase took architectural photographs in New Objectivity style for the magazine Das Neue Frankfurt (The New Frankfurt) and documentary photographs of modern housing projects, including those of Ferdinand Kramer. In 1932, Hase started her own business. It focused on timeless designs like still life, structures, plants, dolls, people, especially self-portraits. Often she used herself as a model in her photographic “picture stories.” Cooperation with agencies like Holland Press Service and the Agency Schostal[2] enabled her to publish her photographs internationally. Despite the bombing of Frankfurt in 1944 by the Allies, Hare's photographic archive survived the war without major damage. Many of those works are now part of the collections held by the Folkwang Museum in Essen, Germany, in the Albertina (Vienna) in Vienna, and in the Walter Gropius estate in the Bauhaus Archive in Berlin, as well as in private collections in Germany and abroad. Despite loss of her cameras and other technical equipment in the chaos of war, Hase was able to resume taking photographs in 1946 by the help of emigre friends who provided her with film and cameras to use. Among others subjects Hase documented was the reconstruction of St. Paul's Church in Frankfurt. From 1949, her work focused on advertising, consisting mostly of plant portraits. Hase died at the age of 85 in 1991 in Frankfurt am Main. Source: Wikipedia This new discovery is a rich body of work by a female artist who was photographing during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. Hase's photographic compositions are comparable to a number of her avant-garde contemporaries such as Florence Henri, Ilse Bing, and Germain Krull. Elisabeth Hase (1905-1991) was born in Germany and began her artistic studies in 1924 at the Art Academy in Frankfurt. During World War II Hase was able to avoid the politicization of her work by retreating to her studio. This however would not prevent her work from being wholly untouched by the war. During the air raid on Frankurt in 1944 her cameras and other equipment were lost however, quite remarkably, her archives of glass and film negatives survived. Most intriguing are Hase's self-portraits which experiment with identity and perceived reality. In one self-portrait she has photographed herself in the reflection of a silver sphere, she and the room are warped on the convex surface of the globe. In another image she is sprawled over a staircase as if fallen, with shoes and purse strewn likewise over the stairs. This practice of role-playing and adopting different personas is seen throughout Hase's portraiture. Hase's work has been shown in museums across Germany including; the Folkwang Museum, Essen; the Historical Museum, Frankfurt; and the Museum of Photography, Braunschweig. Hase's work was exhibited in the show "Who is Afraid of Women Photographers?" at the Musée d'Orsay, Paris, France. Her work in found in prominent museum collections internationally, including The Metropolitan Museum of Art, The National Gallery, the Museum of Modern Art, The Nelson-Atkins Museum of Art, Ackland Art Museum, the Chrysler Museum of Art, Folkwang Museum in Essen, The Albertina Museum in Vienna and The Bauhaus Museum of Design in Berlin. Source: Robert Mann Gallery
Mark Power
United Kingdom
1959
Mark Power is a British photographer. He is a member of Magnum Photos and Professor of Photography in The Faculty of Arts and Architecture at the University of Brighton. Power has been awarded the Terence Donovan Award and an Honorary Fellowship from the Royal Photographic Society. Power was born in Harpenden, England, in 1959. He studied Fine Art at Brighton Polytechnic (1978–1981), and then travelled extensively, discovering a love for photography along the way. Upon his return, he worked as a freelance for several UK publications and charities. Power happened to be in Berlin on 9 November 1989 and photographed the fall of the Berlin Wall. He later published the photographs in the book Die Mauer ist Weg! (2014). Between 1992 and 1996, he embarked on The Shipping Forecast — a project that involved travelling to and photographing all 31 areas covered by the Shipping Forecast broadcast on BBC Radio 4. This project was published as a book and was a touring exhibition across the UK and France. He used a Volkswagen campervan as his mode of transport for the project, echoing the late Tony Ray-Jones, whose work has similarities in style and meaning to Power's. Between 1997 and 2000, Power was commissioned to document the Millennium Dome in London, a project that resulted in another touring exhibition and the accompanying book, Superstructure. Around this time his technical methods changed and he began to use colour film and a large format camera. This was followed by The Treasury Project, published in 2002, which recorded the renovation of the UK government's treasury building on Whitehall, London. In 2003, he undertook another personal project, using the London A–Z map as inspiration. The work, titled 26 Different Endings, is a collection of images examining the areas on the outer boundaries of the map. The project was exhibited at the Centre of Visual Art at the University of Brighton, and was published as a book in 2007. Between 1988 and 2002 Power was a member of Network Photographers. In 2002 he became a nominee of Magnum Photos, an associate in 2005 and a full member in 2007. Between 1992 and 2004 he was Senior Lecturer in Photography at the University of Brighton, becoming Professor of Photography in 2004, until the present. From 2004, he spent five years working on The Sound of Two Songs, on Poland's first five years as a member of the European Union. Between 2006 and 2010 Mark Power collaborated with poet Daniel Cockrill to document the rise in English nationalism. The pair undertook a series of road trips around England, culminating in the book Destroying the Laboratory for the Sake of the Experiment. In 2011 he undertook a commission from Multistory to make work that explored the social landscape of the Black Country through photography and film. He made urban landscapes; a series of photographs of elegant footwear; and a series of short films made in beauty salons, tattoo parlours and nightclubs. In 2014 Power began a self-publishing imprint, Globtik Books, with the publication of his book Die Mauer ist Weg!. Power primarily uses a digital medium format view camera, after he worked with large format film for many years. More recently he diversified into short film making.Source: Wikipedia As a child, Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, though he later went to art college to study life-drawing and painting instead. After graduating, he travelled for two years around South-East Asia and Australia. To support himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of identical paintings for others to sell as their own in the Australian outback (very questionable, this one!) and ended up running the camera department of a large chemist in Bankstown, in the Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera more than a pencil and decided to 'become a photographer' on his return to England, two years later, in 1983.Source: www.markpower.co.uk
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All About Photo Awards 2026
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