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Alban Lécuyer
Courtesy Aline Barrault
Alban Lécuyer
Alban Lécuyer

Alban Lécuyer

Country: France
Birth: 1977

Born in Paris in 1977, Alban Lécuyer studied Journalism and Photography at the Lille Graduate School of Journalism (France). He mainly works as a photographer of architecture within public projects and for private companies (advertising campaigns, photographic missions). Whilst collaborating with various journals, he teaches the History of Photography and Image Analysis at the DMA in Nantes (France). His personal projects centre around the analysis of new forms of dwellings from the social, economic, political and media point of view, and on the alteration of urban space. His works have been exhibited in Spain (Getxophoto Festival), in Switzerland (Biel Festival of Photography) and in France (Le BAL, Circulation(s) Festival, Images Singulières Festival, Archifoto – International Awards of Architectural Photography, etc.).

The Here Soon project transposes reality from everyday city life into the aesthetic of computer graphics, which aim to showcase high-quality real estate projects. The pictures of the series reproduce the codes of those fictitious representations of reality: contrasts are light, shadows are reduced to a minimum, and all that stands between the spectator and the architectural project – trees, vehicles, passers-by and so on – is shown in transparency. Nevertheless, the frame leaves place for writing on the walls, laundry hung out to dry, abandoned objects, trash – everything that bears witness to a civilization that has left its mark on the place that it inhabits. The presence of the local residents also calls attention to their singularity, their paths, and their relationship with their surroundings. Therefore, the emergence of a concrete memory of places contradicts the universal and potential value of images.
Selected Books on Available on Amazon
Ici Prochainement : Sarajevo
Ici Prochainement : Sarajevo
Alban Lécuyer, Velibor Čolić

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Selected Books

Ici Prochainement : Sarajevo
Ici Prochainement : Sarajevo
Alban Lécuyer, Velibor Čolić

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More Great Photographers To Discover

Bruce Davidson
Bruce Davidson
United States
1933
Bruce Davidson began taking photographs at the age of ten in Oak Park, Illinois. While attending Rochester Institute of Technology and Yale University, he continued to further his knowledge and develop his passion. He was later drafted into the army and stationed near Paris. There he met Henri Cartier-Bresson, one of the founders of the renowned cooperative photography agency, Magnum Photos. When he left military service in 1957, Davidson worked as a freelance photographer for LIFE magazine and in 1958 became a full member of Magnum. From 1958 to 1961 he created such seminal bodies of work as “The Dwarf,” Brooklyn Gang,” and “Freedom Rides.” He received a Guggenheim fellowship in 1962 and created a profound documentation of the civil rights movement in America. In 1963, the Museum of Modern Art in New York presented his early work in a solo show. In 1967, he received the first grant for photography from the National Endowment for the Arts, having spent two years witnessing the dire social conditions on one block in East Harlem. This work was published by Harvard University Press in 1970 under the title East 100th Street and was later republished and expanded by St. Ann’s Press. The work became an exhibition that same year at the Museum of Modern Art in New York. In 1980, he captured the vitality of the New York Metro’s underworld that was later published in a book, Subway, and exhibited at the International Center for Photography in 1982. From 1991-95 he photographed the landscape and layers of life in Central Park. In 2006, he completed a series of photographs titled “The Nature of Paris,” many of which have been shown and acquired by the American Academy of Arts and Letters. Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th Street His awards include the Lucie Award for Outstanding Achievement in Documentary Photography in 2004 and a Gold Medal Lifetime Achievement Award from the National Arts Club in 2007. Classic bodies of work from his 50-year career have been extensively published in monographs and are included in many major public and private fine art collections around the world. He continues to photograph and produce new bodies of work.Source: Magnum Photos
Melissa Stewart
Melissa Stewart
Australia
1963
Born in Melbourne, Australian Photographer Melissa Stewart currently resides between the Victorian country regions of the Macedon Ranges and the Mornington Peninsula. She has an affinity with the Australian landscape, nature and its wilderness. It is through her raw, true Australian aesthetic, she draws awareness towards the environment and the landscape we inhibit to protect it. Living in the country with horses has helped shape her awareness and interest in connecting and belonging. After graduating in 1980, she studied Art and Design and then Interior design in 2006 which has only enhanced her focus for detail, shape, line and form, this reflects in her Photography. Melissa returned to study Professional Photography in 2016 at Photography Studies College in Melbourne, studying part time, she has her final year to complete after deferment in 2019. She has been awarded finalist in Click 17, SE Centre for Contemporary Photography, Brunswick Street Gallery and exhibited in several group shows. A Finalist in the Australian Photography Awards awarded top 5, Student category and third place student category in the Australian Photography Awards exhibition, 2019. Statement Being in nature has always allayed my anxiety; it's my form of meditation. We can so easily forget about those simple needs and pleasure in life. Isolation has enabled me to reconnect, being at home creates a security a protection and comfort, and it brings me to a peaceful and happier state of mind. More so now it's imperative to connect with parts of yourself that you haven't before and reconnect with the things that you love. Given this time to slow down; I have been able to be inspired by books and music, long walks and observing the natural world in a different perspective. I have had wonderful moments where I have really be in awe and wonder with nature, the sea, the trees, and the silence. It is exactly in these moments that we can assess what matters, and what we want our life to mean. My interest in drawing awareness towards our environment and the landscape motivates my belief that it is essential to our quality and balance of life.
Maria Kanevskaya
Maria Kanevskaya
Russia
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Maria Kanevskaya was born in March of 1987 in St. Petersburg, Russia. She has a bachelor degree in Hospitality Management from St. Petersburg State University of Economics and Finance. She picked up a camera just a few years ago and never thought she would end up feeling so passionate about photography at the time but a little flame was lit rather quickly, and she all of a sudden was able to materialize instances from daydreams. She moved to San Francisco to follow her heart to create. Maria is influenced by the vision of dreams and everyday life, childhood memories, the interactions with people, the feelings that arise, and the films and works of other artists.She tries to create a different world with photography, a world that doesn’t exist but that some people might want to be a part of.
Oleksandr Rupeta
Oleksandr Rupeta
Ukraine
1981
Oleksandr Rupeta is a documentary photographer from Ukraine working worldwide. He is a member of the Independent Media Trade Union Of Ukraine and the International Federation of Journalists from 2016 and a member of the Ukrainian Association of Professional Photographers and Federation of European Photographers from 2018. As a news and reportage photographer, Oleksandr carries out short and long-term projects about political, cultural, and social life in Europe, Africa, the Middle East, and Asia. His works highlight Ukrainian-Russian conflict, Afghan Red Crescent Society, the life of Iranian Jews community, Sufi Community in Northern Cyprus, people with disabilities in Southern African countries, ethnic minorities in Azerbaijan, LGBT community in the Balkans, elephant conservation in Laos, robotics in Japan, etc. The photos appeared in The New York Times, The Financial Times, The Times, The Guardian, The Economist, Time, Nature, Forbes, National Geographic Traveler and others. His news photos were chosen numerous times as a photo of the day, a photo of the month and a photo of the year in agencies such as NurPhoto, Zuma Press and GettyImages reportage. About Someone in your corner From the middle of the XX century, the tendency of keeping animals as pets has been increased in their number and variety. There are many reasons for this phenomenon. First of all, the technological development improved the overall standard of living. Human attitudes towards animals are becoming of increasing importance and less pragmatic. When a man moves away from nature he begins to use animals as compensation for the lost connection. As a result, animals are engaged in social relations with a human. As family members, pets are changing not only their behavior but also the behavior of the owners. They build complex interdependent relationships. In Ukraine, like the entire post-Soviet space, this tendency has become widespread with gaining independence. Open borders facilitated the transportation of exotic animals and their purchase became quite easy. Keeping unusual animals ceased to be the prerogative of a privileged few. Instead of this came out a problem of the pet owners' ignorance who may have a lack of knowledge of proper exotic pet care. The idea for the project was to explore the mutuality and relationship of the human-animal bond in the modern world, to see and pay attention to the conditions of their interaction and coexistence. The project was created in the summer-fall 2019, throughout Ukraine. The primary eligibility criteria for choosing characters was the exclusion of all occasional owners, zoos, circuses and using animals in entertainment spectacles. But everything turned out to be more complicated than expected. Odd owners often saved their pets from death and mostly they showed true love to the pets. Other characters were chosen from people with a passion for animals. In addition to owning exotic animals as house pets, these people frequently try to link their lives with animals. Some of them organize private or home zoos, some work in pet shops, others try to find work at animal shelters or wildlife sanctuary. The project turned out wider than I planned but each shot in the series elucidates the special human-animal connection.
Lillian Bassman
Lillian Bassman
United States
1917 | † 2012
Lillian Bassman (June 15, 1917 – February 13, 2012) was an American photographer and painter. Her parents were Jewish intellectuals who emigrated to the United States from Russia in 1905 and settled in Brooklyn, New York. She studied at the Textile High School in Manhattan with Alexey Brodovitch and graduated in 1933. While there, she met the photographer, Paul Himmel, and they were married in 1935; Himmel died in 2009 after 73 years of marriage. From the 1940s until the 1960s Bassman worked as a fashion photographer for Junior Bazaar and later at Harper's Bazaar where she promoted the careers of photographers such as Richard Avedon, Robert Frank, Louis Faurer and Arnold Newman. Under the guidance of the Russian emigrant, Alexey Brodovitch, she began to photograph her model subjects primarily in black and white. Her work was published for the most part in Harper’s Bazaar from 1950 to 1965. By the 1970s Bassman’s interest in pure form in her fashion photography was out of vogue. She turned to her own photo projects and abandoned fashion photography. In doing so she tossed out 40 years of negatives and prints - her life’s work. A forgotten bag filled with hundreds of images was discovered over 20 years later. Bassman’s fashion photographic work began to be re-appreciated in the 1990s. She worked with digital technology and abstract color photography into her 90s to create a new series of work. She used Photoshop for her image manipulation. The most notable qualities about her photographic work are the high contrasts between light and dark, the graininess of the finished photos, and the geometric placement and camera angles of the subjects. Bassman became one of the last great woman photographers in the world of fashion. Bassman died on February 13, 2012, at age 94. Source: Wikipedia Lillian Bassman was born in 1917 into an immigrant family of free-thinking intellectuals, and was brought up with a mindset that allowed her to live as an independent and unconventional woman.She worked as a textile designer and fashion illustrator before working at Harper's Bazaar with Alexey Brodovitch, and ultimately becoming a photographer. Bassman's fashion images are unique, and acheieve their effect through manipulation in the dark room. Appearing in Harper's Bazaar from the 1940's to the 1960's, her work was categorized by their elegance and grace.Bassman had transformed these photographs into original works of art through her darkroom techniques in which she blurs and bleaches the images, investing them with poetry, mystery, and glamour. Source: Staley-Wise Gallery Lillian Bassman is one of the great 20th century fashion photographers along with Irving Penn and Richard Avedon. She began her career not as a photographer but as a painter at the WPA and then took courses at Pratt Institute in Brooklyn, New York. In 1945, Bassman was appointed Art Director at Junior Bazaar, giving projects to photographers such as Richard Avedon, Robert Frank and Paul Himmel (her husband). Later in 1947, she became the Art Director at Harper’s Bazaar, and her work appeared in Harper’s Bazaar throughout the 1940’s and 50’s. Her work was nearly destroyed in the 70’s by a water leak in her studio, and it was not until the 1990’s that her work was revived. With this new spotlight, Bassman received the Agfa Life Time Achievement Award and the Dem Art Directors Club Award in 1996. During the same year, Bassman began photographing again when she was asked to photograph the Haute Couture collection for New York Times Magazine, the Autumn Collection for Neiman Marcus, as well as work for German Vogue. Her work has been exhibited worldwide. Source: Peter Fetterman Gallery
Dimitris Lambridis
Dimitris Lambridis
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Dimitris Lambridis was born in Athens, Greece. He has studied photography at the NewYork Film Academy and Film Production at the University for The Creative Arts, in Farnham, UK. He works as a photographer and cinematographer between London and Athens, while creating personal projects in the medium of photography. These projects focus mostly on stories that involve themes such as loss, the margins, community and irreversibility. Red Willow: "Red Willow" is the name of the Native American tribe of Pueblo Indians residing in the Taos Pueblo, in the city of Taos, New Mexico. The Red Willow tribe operates as an independent sovereign state, with its own hospital, school system and governing body. The Taos Pueblo was probably built between 1000 and 1450, making it one of the oldest continuously inhabited communities in the United States. It is also said that the Red Willow tribe is one of the first forms of society in the US - prior to the arrival of the Spanish in 1598 and other colonizers who played a definitive role in the history of the country and the fate of all Native Americans. A really important establishment introduced to the Natives was Christianity, which fit within the already highly spiritual culture, without pushing their spiritual practices away. It fit, and was accepted as it functioned in a different layer. Faith plays a large role in Native American art and other forms of expression. The history of relations between the US government and the Native American Indians has been a difficult one. Increasingly, today's Native American groups are sovereign within their own territory but continue to have close connections with the US federal government. Access to higher education for Native Americans is limited as the opportunities afforded them are not broad. The people's attitude in conjunction with the endless desert, allowed for a clarity of mind, which was almost taking me by the hand and pointing the camera towards the things that really did matter. The earth, the mountain, and the deepest bond that will never be taken away from Red Willow - their connection to their land. Photographic approach As soon as I was granted access to photograph within the pueblo in Taos, New Mexico. I started thinking about the form in which the narrative would be best preserved. The magnitude of this culture in relation to the history that comes after they encountered the colonizers, is one to be deeply respected. Appropriately, I thought that the clean strong image of a medium format camera, will function also as an update to Ansel Adams' documentation of the tribe- made in the 1930's- yet with elements of our times, such as the colour film and the inevitably modern landscape within and around the Pueblo, such as cars, clothing and establishments. Approaching the Pueblo in relation to the outside environment of the town of Taos, was something that I wanted to establish after I witnessed a certain codependence, which might not be preferred by the tribal members, but seems necessary.
Nat Fein
Nat Fein
United States
1914 | † 2000
Nathaniel Fein (August 7, 1914 – September 26, 2000) was a photographer for the New York Herald Tribune for 33 years. Fein is known for photographing Babe Ruth towards the end of his life, winning the 1949 Pulitzer Prize for his photograph The Babe Bows Out. Fein was born and raised on the Lower East Side of Manhattan. He was a press photographer at the New York Herald Tribune from 1933 to 1966. Known for setting a scene correctly, he would climb buildings and bridges to get the shot he was after. Fein's main subject matter was New York following World War II. Albert Einstein, Ty Cobb, Queen Elizabeth and Harry S. Truman were among the many public figures that he photographed. Nat Fein won more press photo awards than any of his contemporaries. Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken "the most celebrated photograph in sports history." -- The New York Times, 1992. A resident of Tappan, New York, Fein died on September 26, 2000, at the age of 86.Source: Wikipedia Babe Bows Out", photograph of Babe Ruth during a ceremony at Yankee Stadium to retire his number, 13 June 1948 (This photo won the 1949 Pulitzer Prize for photography) © Nat Fein / Public Domain Babe Ruth’s dominating influence changed the game itself. He became the face of the New York Yankees and embodied the ethos of the game of baseball, American sports culture, and New York heritage. In Babe Bows Out photographer Nat Fein captures the beloved athlete and showman in an image that has become synonymous with the immensity of its subject. Nat Fein began to work for the New York Herald Tribune as a copyboy in 1932. After investing in a camera years later, he became a press photographer for the paper, creating a working relationship that lasted 33 years. While working as a staff photographer at the Tribune, Fein had not been assigned to work on the day that the New York Yankee’s would retire Babe Ruth’s number three jersey. On the day when the Yankees would celebrate the 25th anniversary of the Yankee stadium and retire “The Great Bambino’s” number, the mainstay sports photographer for the Tribune called in sick. Thus, on June 13 of 1948, Nat Fein was set out to cover what many suspected could be Babe Ruth’s last public appearance. While other press photographers attempted to capture a portrait of the great American baseball hero wearing his uniform one last time, Nat Fein, tried to capture the iconic number on his jersey, stating: “All the photographers were in the front, and I wanted to see how he looks from the back. So I figured, well, number three is out. The Babe bows out…” – Nat Fein The final image is filled with emotion, a bidding farewell to the greatest player in baseball. Among an interminable crowd of onlookers and accompanied by current Yankees players, Ruth bows out in the stage where his legendary mythology was created. At the time of the photograph in 1948, Babe Ruth had not played for the Yankees for over a decade. Ruth had also been ill for some time, and his appearance had changed; his thin legs and face showed signs of his fragile condition. Fein’s photograph, instead of highlighting the aged features of the passing of time or sickness, captures the silhouette of the baseball giant. The picture presenting Ruth with his classic number three jersey underlines the monumental influence he exuded over the game and New York. The image not only symbolizes a sports hero but a man who was larger than life. His rough childhood with frequent visits to orphanages and hospitals, his kindness to black baseball players in a time of racial inequity, his fondness to volunteer his time for kids sick with Polio, and his larger physique, generate empathy in his farewell photograph. The photograph presents a poetic image that connects us through its resounding human and empathetic quality, connecting the viewer to an unwavering American hero. Babe Bows Out eventually became the first sports photograph to win the Pulitzer Prize. It cemented the importance of the medium of photography. It is considered one of Time Magazine’s 100 most influential images of all time and is featured in the National Baseball Hall of Fame and the Smithsonian Institute. Never surrendering to sickness or ill-health, the photograph commemorates the hometown hero. It immortalizes the strong and imposing Babe Ruth as the towering figure we remember and speak of today. A man whose recognition has reigned supreme over baseball, New York, and the world of sports for over 100 years. Nat Fein’s Babe Bows Out is one of the most excellent images of baseball lore.Source: Holden Luntz Gallery
Ben Maciej Pawlowski
Ben Maciej Pawlowski
Germany
1977
Ben Maciej Pawlowski (b. 1977, Poland) is a director of photography and a photographer. He is a Hamburg-based freelancer who shoots non-fiction stories for TV and has an exceptional eye for strong storytelling within the frame. He has been selected for the AAP Magazine, Volume 27. His visual style allows the viewer to communicate with his photographs and gives his often minimalist and abstract works of photography a narrative depth. Artist Statement "Photography decelerates. Both in the crowded city or in the open spaces of nature. I´m interested in attentiveness and indulgence (the state of “flow” in the photography). The complexity of light and the endless possibilities of the composition are profoundly fascinating and a captivating invitation to experiment."
William Heick
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
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