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Marie-Laure Vareilles
Marie-Laure Vareilles
Marie-Laure Vareilles

Marie-Laure Vareilles

Country: France
Birth: 1966

- Testify to the variety of cultures on our planet.
Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.

- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.

- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILO


All about Marie Laure Vareilles:

AAP: When did you realize you wanted to be a photographer?
It was not my dream.

AAP:Do you have a mentor?
I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.

AAP: How long have you been a photographer?
I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.

AAP: What or who inspires you?
Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.

AAP: How could you describe your style?
I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.

AAP: What kind of gear do you use? Camera, lens, digital, film?
Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.

AAP: Do you spend a lot of time editing your images?
Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !

AAP: Favorite(s) photographer(s)?
They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.

AAP: Your best memory has a photographer?
I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!

AAP: Your worst souvenir has a photographer?
I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.

Website

www.artphotomailo.com

 

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Alex Lobo
Alex Lobo
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Madame d’Ora
Madame d'Ora
Austria
1881 | † 1963
Dora Philippine Kallmus, also known as Madame D'Ora or Madame d'Ora, was an Austrian fashion and portrait photographer. Born in Vienna, Austria, in 1881 to a Jewish family, into a privileged background and coming of age amidst the creative and intellectual atmosphere of fin-de-siècle Vienna, Kallmus was extremely well cultured. Her father was a lawyer. Her sister, Anna, was born in 1878 and deported in 1941 during the Holocaust. Although her mother, Malvine (née Sonnenberg), died when she was young, her family remained an important source of emotional and financial support throughout her career. At age 23 while on a trip to the Côte d’Azur, she purchased her first camera, a Kodak box camera. She became interested in the photography field while assisting the son of the painter Hans Makart, and in 1905 she was the first woman to be admitted to theory courses at the Graphische Lehr- und Versuchsanstalt (Graphic Training Institute), which in 1908 granted women access to other courses in photography. That same year she became a member of the Association of Austrian photographers. She was the first woman photographer in Vienna to open her own studio and in May 1906, she was listed in the commercial register as a photographer for the first time. She established her studio called the Atelier d’Ora or Madame D'Ora-Benda with Arthur Benda. The name was based on the pseudonym "Madame d'Ora", which she used professionally. Self-styled simply as d’Ora, she initially took portraits of friends and members from her social circle. In the autumn of 1909, an exhibition of her work received a lively response from the press. Critics both praised the artistic style of her portraits and emphasized the prominent individuals who streamed in to view the show. Over the course of her lifetime, d’Ora turned her lens on many artists, including Josephine Baker, Colette, Gustav Klimt, Tamara de Lempicka, and Pablo Picasso, among others. Alongside these commissions, she also photographed members of the Habsburg family and Viennese aristocracy, the Rothschild family, and other prominent cultural figures and politicians. D’Ora had close ties to avant-garde artistic circles and captured members of the Expressionist dance movement with her lens, including Anita Berber and Sebastian Droste. Fashion and glamor subjects were another important mainstay of her business. She regularly photographed Wiener Werkstätte fashion models and the designer Emilie Flöge of the Schwestern Flöge salon wearing artistic reform dresses. When d’Ora moved to Paris in 1925, she shifted her focus to fashion, covering the couture scene and leading lights of the period until 1940. She befriended key figures, such as the French milliner Madame Agnès and the Spanish designer Cristóbal Balenciaga, as well as the top fashion magazine editors of the day. She also helped create and sustain glamorous images for a variety of celebrities, including Cecil Beaton, Maurice Chevalier, and Colette. When the Nazis seized control of Paris in 1940, she was forced to close her studio and flee. She spent the war years in a semi-underground existence living in Ardèche in the southeast of France. Her sister Anna Kallmus, along with other family and friends, died in the Chełmno concentration camp. After World War II, d’Ora returned to Paris, profoundly affected by personal losses. While she lacked an elegant studio in Paris, d’Ora’s lasting connections to wealthy clients remained and many of them returned to her. While she accepted portrait commissions, mostly for financial stability, she also pushed into new, sometimes darker directions. Around 1948, she embarked on an astonishing series of photographs in displaced persons or refugee camps, which was commissioned by the United Nations. From around 1949 to 1958, d’Ora worked on a project, which she called “my big final work.” She visited numerous slaughterhouses in Paris, and amid the pools of blood and deathly screams, she stood in an elegant suit and a hat photographing the butchered animals hundreds of times. She died on 28 October 1963. Four years prior, she had sustained injuries after being hit by a motorcycle in Paris, resulting in her returning to Vienna.Source: Wikipedia
Annette LeMay Burke
Annette LeMay Burke
United States
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Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology. Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass. Fauxliage - Disguised Cell Phone Towers of the American West Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained. I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past. More about Fauxliage More about Memory Building
Rogan Coles
Rogan Coles
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I was born in 1954. Photography is what I do. The stories lie therein. In presenting this body of work I want to explore something that is often overlooked - as in the intrinsic value of photography. As one of his mantras, Jack Ma, the founder and now former CEO of Alibaba and a person whose tenacity I admire, said this, "I always look 10 years ahead". While I'm not going to suggested that this is what I do with my photography or when I am about to embark on a project. But and quite often, there's something prescient in what I do and how I approach my work as a photographer. When I set out to document Smithfield Market in London, this is more or less what happened. Besides all the talk of closing down the market, there were suggestions that the market was going to be refurbished and, in the process, brought up to European Union health standards. At around this time, I used to take a short cut through the market's precinct as I walked from one side of the city to the other. Of course, during the day, there was nothing there. Well, let me qualify, there were no people there. Working hours were from just around midnight until the early hours of the morning. With these various stories doing the rounds, I wanted to investigate. In the process I made contact with the market's management. As a result, I was granted to two week window to document the market and the activities there. This was back in April of 1991. Yes, nearly 30 years ago. This is what I mean, the "intrinsic value of photography". I don't know what these images are worth. I have never exhibited them or ever had them published in any form. No real reason. Then as now, perhaps I didn't have a compelling enough story that publications or curators could buy into. "Intrinsic value" is not going to see this work through to anything significant. Perhaps something like "British working class heroes", "End of an era" or "Times are a changing" may have done it. But, we live on in hope. I have long admired photography of Vivien Maier and see her work in much the same way - and that is, for its intrinsic value. Through her work, Maier more or less defined the Chicago of a particular era. Another photographer's work who I much admire is Max Yavno. Again, the strength of his work lies in its intrinsic value. Through his work, he more or less defined Los Angeles and San Francisco of an era and, to some degree, Cairo. His work is iconic - just as is Maier's.
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Alastair Magnaldo
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France
"I was ten when I first discovered photography and was even then fascinated by the light that B & W prints suffused. Armed with a Voigtländer and a handheld lightmeter, I made my first steps on the long and winding road of B & W photography. Ever since, I've kept a vision of photography filled with light and I've been trying to express it in most of my compositions, occasionally using colour to improve a setting. After these inconclusive beginnings, I gave up any pretention in the art of photography and did scientific studies. I'm now a qualified physics and chemistry scientist with a PhD. I strongly favour therefore, the experimental approach to science. Around the year 2000, I bought a scanner for negatives followed by a printer, almost a compulsive buy. By then I had understood that having perfectly mastered the technical tools during my formative years had really allowed me to become emancipated. And so, I put all my energy into a dedicated photographic approach. As for my private life, my fabulous wife, our three fabulous children and I live and work between Provence and the Cévennes. I can’t find enough words to thank my family for their everyday support, especially the person who put the first camera into my hands."
Reisinger Zsuzsanna
Reisinger Zsuzsanna
Hungary
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Jonas Bendiksen
Jonas Bendiksen
Norway
1977
Jonas Bendiksen is a Norwegian photojournalist based near Oslo. He has published the books Satellites (2006) and The Places We Live (2008) and received awards from World Press Photo, International Center of Photography, National Magazine Awards and Pictures of the Year International. Bendiksen became a Magnum Photos nominee in 2004 and a member in 2008. In 2010 he was its president. Bendiksen was born in Tønsberg, in Vestfold county, southern Norway, on 8 September 1977. He lived in Russia for several years. The time he spent there resulted in his book, Satellites - Photographs from the Fringes of the former Soviet Union, about separatist republics in the former USSR, published in 2006. For three years he photographed slum communities in Nairobi in Kenya, Mumbai in India, Jakarta in Indonesia, and Caracas in Venezuela, for The Places We Live, a book published in 2008, and an exhibition containing projections and voice recordings.Source: Wikipedia Thinking back on the series of events, and “ill-advised” actions he undertook as a photographer in his 20s, Jonas Bendiksen says one of the driving forces of his landmark project, Satellites, was luck. Happening to be in a specific place, at a specific time, is what led the photographer to make some of the series’ most unique and most memorable images. Yet, through all of his reflections on the project, it’s clear that a keen sense of observation, determination in the execution of an idea, and a certain streak of recklessness were all part of the mix. During the collapse of the Soviet Union, economic, political and ethnic disparities gave birth to a series of lesser-known unrecognized republics, national aspirations, and legacies. Crafted from a series of Bendiksen’s photoessays made from 1999 to 2005, Satellites documented these places in transition. Six regions undergoing great social shifts formed the six chapters of the book: the “non-existent” state of Transdniester; the beach resort of Abkhazia; the contested region of Nagorno-Karabakh; the Fergana Valley, lying across Uzbekistan, Kyrgyztan and Tajikstan; the spaceship crash zones of the Altai Territory; and the Jewish Autonomous Region of Birobidzhan. Through this collection of vignettes, little-seen in the West at the time, Bendiksen provided an insight into how daily life was lived in liminal places, documenting communities that were experienced the breakdown of Soviet communism in varying ways. Jonas Bendiksen’s sharply evocative images explore themes of community, faith and identity with unsparing honesty. He has made major bodies of work all over the world, at the same time as he always also photographs the daily rhythms of life at home. As well as many critically acclaimed long-form projects he has also produced significant work for many commercial and editorial clients. Bendiksen most recent book The Last Testament from 2017 told the story of seven men who all claimed to be the biblical Messiah returned to earth. His editorial clients include magazines such as National Geographic, Stern, TIME Magazine, Newsweek, The Sunday Times Magazine, The Guardian Weekend. On the commercial side, he has done projects for HSBC, Canon, FUJI, BCG, Red Bull and Land Rover. Bendiksen lives with his wife and three children outside Oslo, Norway.Source: Magnum Photos
Samuel Bourne
Samuel Bourne
British
1834 | † 1912
Samuel Bourne, an English photographer born in 1834, is celebrated as one of the foremost figures in early Indian photography. His journey into the world of photography began in Nottingham, England, where he initially worked as a bank clerk. However, his passion for the burgeoning art of photography soon eclipsed his banking career, leading him to pursue it full-time. Bourne's meticulous attention to detail and his technical proficiency quickly set him apart in the photographic community. In 1863, Bourne embarked on an ambitious voyage to India, a decision that would define his career and cement his legacy. He arrived in Calcutta (now Kolkata) and joined forces with the established photographic studio Howard & Shepherd, which later became known as Bourne & Shepherd. This partnership allowed Bourne to explore the Indian subcontinent extensively, capturing its diverse landscapes, architecture, and people with an unprecedented level of precision and artistry. Bourne's expeditions were both challenging and groundbreaking. He undertook several arduous journeys to remote and often inaccessible regions of India, including the Himalayas, where he captured stunning photographs of the mountains, rivers, and valleys. His images of Kashmir, Simla (now Shimla), and Darjeeling are particularly renowned for their clarity and composition. Bourne's work required immense physical stamina and technical skill, as he often had to transport heavy photographic equipment through difficult terrains. Throughout his time in India, Bourne produced an extensive portfolio that vividly documented the subcontinent's natural beauty and architectural grandeur. His photographs provided a window into India for the Western world and were widely acclaimed for their artistic merit and documentary value. Bourne's work was regularly featured in British photographic journals, and he received numerous accolades for his contributions to the field. Samuel Bourne returned to England in 1870, leaving behind a lasting legacy in the world of photography. He continued to be involved in the photographic industry but never again embarked on such extensive travels. Bourne's Indian photographs remain a significant historical record, offering a glimpse into the 19th-century Indian landscape and culture. His pioneering efforts not only advanced the technical aspects of photography but also set a high standard for future generations of photographers. Samuel Bourne passed away in 1912, but his work continues to be celebrated for its artistic and historical importance.
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