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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

Agency

Visuelles

Website

www.albanlecuyer.com

 

Selected Book

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

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
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More Great Photographers To Discover

Brigitte Bourger
Brigitte Bourger
France
1954
Brigitte Bourger is a visual artist and photographer based in French Polynesia, originally from France, where she lived for over forty years. A pharmacist by training, she has devoted recent years to aerial and abstract photography, capturing the patterns, colors, and lines of natural landscapes and transforming them into poetic visual narratives. Her work lies at the intersection of geography, environmental awareness, and contemporary aesthetics, often balancing representation and abstraction. Notable projects include Éphémères Impressions, a minimalist series that highlights the fragility of marine life in French Polynesia. Her eponymous book, published in France by Escourbiac, won first prizes at PX3 Paris and TIFA Tokyo. She continues to develop internationally recognized projects examining the impact of environmental change on landscapes, bridging cultural and geographic contexts between France, the Pacific, and the wider world. Awarded Photographer of the Week - Week 47, 2025
Margaret Halaby
Margaret Halaby
United States
I went to Radcliffe College, the University of Pennsylvania Law School, practiced law for a year, hated it, had a couple of other jobs during my working career and I am now retired. An alternative bio is that I have been creating pictures all my life, got my first set of oil paints when I was ten, took painting classes at the National Academy of Design when my daughter was in preschool. While painting was my first love, I was taking photographs at the same time and came to find more satisfaction in photography than painting. When I got my first digital camera in 2015, I was hooked. I now live in Tucson, AZ where I am continually dazzled and challenged by the dramatic desert light. Statement: These photos are part of a series I call Solitary Spaces, photos of deserted spaces - in nature, by empty buildings - portraying places that resonate with our feelings of aloneness in a beautiful, but indifferent world. AAP Magazine AAP Magazine 49 B&W
Cornell Capa
Cornell Capa
United States
1918 | † 2008
Cornell Capa (born Kornél Friedmann; April 10, 1918 – May 23, 2008) was a Hungarian American photographer, member of Magnum Photos, photo curator, and the younger brother of photo-journalist and war photographer Robert Capa. Graduating from Imre Madách Gymnasium in Budapest, he initially intended to study medicine, but instead joined his brother in Paris to pursue photography. Cornell was an ambitious photo enthusiast who founded the International Center of Photography in New York in 1974 with help from Micha Bar-Am after a stint of working for both Life magazine and Magnum Photos. Born as Kornél Friedmann in Budapest, he moved, aged 18, to Paris to work with his elder brother Robert Capa, a photo-journalist. In 1937, Cornell Capa moved to New York City to work in the Life magazine darkroom.[4] After serving in the U.S. Air Force, Capa became a Life staff photographer in 1946. The many covers that Capa shot for the magazine included portraits of television personality Jack Paar, painter Grandma Moses, and Clark Gable. In 1953 he visited Venezuela to make a photo-report of Caracas, on this trip he had the opportunity to photograph the artist Armando Reverón. In May 1954, his brother Robert Capa was killed by a landmine, while covering the final years of the First Indochina War. Cornell Capa joined Magnum Photos, the photo agency co-founded by Robert, the same year. For Magnum, Cornell Capa covered the Soviet Union, Israeli Six-Day War, and American politicians. Beginning in 1967, Capa mounted a series of exhibits and books entitled The Concerned Photographer. The exhibits led to his establishment in 1974 of the International Center of Photography in New York City. Capa served for many years as the director of the Center. Capa has published several collections of his photographs including JFK for President, a series of photographs of the 1960 presidential campaign that he took for Life magazine. Capa also produced a book documenting the first 100 days of the Kennedy presidency, with fellow Magnum photographers including Henri Cartier-Bresson and Elliott Erwitt. Capa died in New York City on May 23, 2008, of natural causes at the age of 90.Source: Wikipedia Cornell Capa (originally Cornell Friedmann) was born in Budapest and moved to Paris in 1936 to join his brother, Robert, who had escaped from the increasingly anti-Semitic climate of Hungary in 1930. Although he had intended to study medicine, Cornell was drawn to photography through his brother and began making prints for him, as well as for Henri Cartier-Bresson and Chim (David Seymour). This experience encouraged him to become a professional photojournalist, and in 1937 he moved to New York to pursue a career. After he had worked in the darkrooms of the Pix agency and LIFE for a few years, his first photo story was published in Picture Post in 1939. During World War II, Capa worked for the US Army Air Corps Photo-Intelligence Unit and the Army Air Corps's public relations department. In 1946, he became a staff photographer at LIFE, based mainly in the American Midwest, and covered some three hundred assignments over the next three years. He was the magazine's resident photographer in England for two years, after which he returned to the United States, to produced some of his most well-known photo essays, on subjects such as Adlai Stevenson's presidential campaign and the education of mentally retarded children. Upon Robert's death in 1954, Capa left LIFE to continue his borther's work at Magnum, the international cooperative photography agency co-founded in 1947 by Robert, Henri Cartier-Bresson, Chim (David Seymour), and George Rodger. Over the next twenty years, Capa photographed many important stories for Magnum, including the activities of the Perón government in Argentina; the Democratic National Conventions of 1956, 1960 and 1968; and John F. Kennedy's first hundred days in office. Capa's photographic production slowed in the mid-1970s as he devoted himself more to the care and promotion of other photographers' work through his International Fund for Concerned Photography. In 1964, he organized the exhibition The Concerned Photographer, which led to the establishment of the International Center of Photography, an organization dedicated to the support of photography as a means of communication and creative expression, and to the preservation of photographic archives as a vital component of twentieth-century history. Capa received ICP's Lifetime Achievement Award in 1995. Capa served as ICP's Director Emeritus until his death in 2008.Source: International Center of Photography In Mr. Capa’s nearly 30 years as a photojournalist, the professional code to which he steadfastly adhered is best summed up by the title of his 1968 book “The Concerned Photographer.” He used the phrase often to describe any photographer who was passionately dedicated to doing work that contributed to the understanding and well-being of humanity and who produced “images in which genuine human feeling predominates over commercial cynicism or disinterested formalism.” The subjects of greatest interest to Capa as a photographer were politics and social justice. He covered both presidential campaigns of Adlai Stevenson in the 1950s and also became a good friend of Stevenson. He covered John F. Kennedy’s successful presidential run in 1960, and then spearheaded a project in which he and nine fellow Magnum photographers documented the young president’s first hundred days, resulting in the book “Let Us Begin: The First One Hundred Days of the Kennedy Administration.” (He got to know the Kennedys well; Jacqueline Kennedy Onassis would become one of the first trustees of the I.C.P.) In Argentina, Mr. Capa documented the increasingly repressive tactics of the Peron regime and then the revolution that overthrew it. In Israel, he covered the 1967 Six Day-War. The vast number of picture essays he produced on assignment ranged in subject from Christian missionaries in the jungles of Latin America to the Russian Orthodox Church in Soviet Russia during the cold war, the elite Queen’s Guards in England and the education of mentally retarded children in New England. His work conformed to all the visual hallmarks of Life magazine photography: clear subject matter, strong composition, bold graphic impact and at times even a touch of wit. In his 1959 essay about the Ford Motor Company, for example, one picture presents a bird’s-eye view of 7,000 engineers lined up in rows behind the first compact car all of them were involved in developing: a single Ford Falcon. “I am not an artist, and I never intended to be one,” he wrote in the 1992 book Cornell Capa: Photographs. “I hope I have made some good photographs, but what I really hope is that I have done some good photo stories with memorable images that make a point, and, perhaps, even make a difference.”Source: The New-York Times
Frances Benjamin Johnston
Frances Benjamin Johnston
United States
1864 | † 1952
Frances "Fannie" Benjamin Johnston (15 January 1864 – 16 May 1952) was an early American female photographer and photojournalist whose career lasted for almost half a century. She is most known for her portraits, images of southern architecture, and various photographic series featuring African Americans and Native Americans at the turn of the 20th century. The only surviving child of wealthy and well connected parents, she was born in Grafton, West Virginia, raised in Washington, D.C., and studied at the Académie Julian in Paris and the Washington Students League following her graduation from Notre Dame of Maryland Collegiate Institute for Young Ladies in 1883 (now known as Notre Dame of Maryland University). An independent and strong-willed young woman, she wrote articles for periodicals before finding her creative outlet through photography after she was given her first camera by George Eastman, a close friend of the family, and inventor of the new, lighter, Eastman Kodak cameras. She received training in photography and dark-room techniques from Thomas Smillie, director of photography at the Smithsonian. She took portraits of friends, family and local figures before working as a freelance photographer and touring Europe in the 1890s, using her connection to Smillie to visit prominent photographers and gather items for the museum's collections. She gained further practical experience in her craft by working for the newly formed Eastman Kodak company in Washington, D.C., forwarding film for development and advising customers when cameras needed repairs. In 1894 she opened her own photographic studio in Washington, D.C., on V Street between 13th and 14th Streets, and at the time was the only woman photographer in the city. She took portraits of many famous contemporaries including Susan B. Anthony, Mark Twain and Booker T. Washington. Well connected among elite society, she was commissioned by magazines to do "celebrity" portraits, such as Alice Roosevelt's wedding portrait, and was dubbed the "Photographer to the American court." She photographed Admiral Dewey on the deck of the USS Olympia,[6] the Roosevelt children playing with their pet pony at the White House and the gardens of Edith Wharton's famous villa near Paris. Her mother, Frances Antoinette Johnston, had been a congressional journalist and dramatic critic for the Baltimore Sun and her daughter built on her familiarity with the Washington political scene by becoming official White House photographer for the Harrison, Cleveland, McKinley, "TR" Roosevelt, and Taft presidential administrations. Johnston also photographed the famous American heiress and literary salon socialite Natalie Barney in Paris but perhaps her most famous work, shown here, is her self-portrait of the liberated "New Woman", petticoats showing and beer stein in hand. Johnston was a constant advocate for the role of women in the burgeoning art of photography. The Ladies' Home Journal published Johnston's article "What a Woman Can Do With a Camera" in 1897[9] and she co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC. She traveled widely in her thirties, taking a wide range of documentary and artistic photographs of coal miners, iron workers, women in New England's mills and sailors being tattooed on board ship as well as her society commissions. While in England she photographed the stage actress Mary Anderson, who was a friend of her mother. In 1899, she gained further notability when she was commissioned by Hollis Burke Frissell to photograph the buildings and students of the Hampton Normal and Agricultural Institute in Hampton, Virginia in order to show its success. This series, documenting the ordinary life of the school, remains as some of her most telling work. It was displayed at The Exhibit of American Negroes of the Paris Exposition Universelle in 1900. She photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan-American Exposition of 1901 just before his assassination. With her partner, Mattie Edwards Hewitt, a successful freelance home and garden photographer in her own right, she opened a studio in New York in 1913 and moved in with her mother and aunt. Hewitt wrote Johnston love letters over the course of their relationship, which are chronicled in "The Woman Behind the Lens: The Life and Work of Frances Benjamin Johnston, 1864–1952." Many of the early letters focused on Hewitt's admiration for Johnston's work, but as their romance progressed, they became increasingly full of words of love: "...when I need you or you need me — [we] must hold each other all the closer and with your hand in mine, holding it tight..." She lectured at New York University on business for women and they produced a series of studies of New York architecture through the 1920s. In early 1920 her mother died in New York. In the 1920s, she became increasingly interested in photographing architecture, motivated by a desire to document buildings and gardens which were falling into disrepair or about to be redeveloped and lost. As her focus in architecture grew, she became specifically interested in documenting the architecture of the American South. Johnston was interested in preserving the everyday history of the American South through her art; she accomplished this by photographing barns, inns, and other ordinary structures. She was not interested in photographing the grand homes and estates of the American South, but rather the quickly deteriorating structures in these communities that portrayed the life of common southerners. Her photographs remain an important resource for modern architects, historians and conservationists. She exhibited a series of 247 photographs of Fredericksburg, Virginia, from the decaying mansions of the rich to the shacks of the poor, in 1928. The exhibition was entitled Pictorial Survey--Old Fredericksburg, Virginia--Old Falmouth and Nearby Places and described as "A Series of Photographic Studies of the Architecture of the Region Dating by Tradition from Colonial Times to Circa 1830" as "An Historical Record and to Preserve Something of the Atmosphere of An Old Virginia Town." Publicity from the display prompted the University of Virginia to hire her to document its buildings and the state of North Carolina to record its architectural history. Louisiana hired Johnston to document its huge inventory of rapidly deteriorating plantations and she was given a grant in 1933 by the Carnegie Corporation of New York to document Virginia's early architecture. This led to a series of grants and photographs of eight other southern states, all of which were given to the Library of Congress for public use. In December 1935, she began a year long project to capture the less evolved structures of the Colonial Era in Virginia. This was effort was intended to be a one year project, but evolved into an eight year extensive project, in which she surveyed 50,000 miles and 95 counties in Virginia. Johnston was named an honorary member of the American Institute of Architects for her work in preserving old and endangered buildings and her collections have been purchased by institutions such as the Metropolitan Museum of Art, the Virginia Museum of Fine Arts and the Baltimore Museum of Art. Although her relentless traveling was curtailed by petrol rationing in the Second World War the tireless Johnston continued to photograph. Johnston acquired a home in the French Quarter of New Orleans in 1940, retiring there in 1945, where she died in 1952 at the age of eighty-eight.Source: Wikipedia
Charles Scowen
Charles Scowen
United Kingdom
1852 | † 1948
Charles Thomas Scowen (11 March 1852 – 24 November 1948) was a British photographer during the nineteenth century. He was active as a photographer from 1871 to 1890, working in Sri Lanka and British India in the early 1870s. By 1876 Scowen had established a studio, Scowen & Co, in Kandy and by the 1890s, he had opened a second in Colombo. His work, which included landscapes and portraits of Malay women, is noted for its lighting, technically superior printing, and strong compositional qualities. Scowen's photographs are represented in the collections of the J. Paul Getty Museum, Yale University Art Gallery, the Art Institute of Chicago, the Metropolitan Museum of Art, and the Museum of Fine Arts, Boston. Charles Scowen became a tea planter before retiring and returning to England around the turn of the century. He died in Sudbury, Suffolk, aged 96.Source: Wikipedia Described as the Pearl of the Indian Ocean, the island Ceylon was conquered by the English in 1796 and for many years was at the center of the spice and trade routes. Rich in ivory, cinnamon, coffee, tea, gems, and pearls the island became increasingly accessible during the nineteenth century. Its exotic scenery was well documented by commercial photographers throughout the nineteenth century. One of the most accomplished and successful photographic firms working in Ceylon was Charles T. Scowen and Co. Scowen and his team produced records for the tourist market, as well as for commerce and industry. These documents included images of plantation economies, railroad, native people, architectural city views, and ancient ruins. The photographs are of superior quality, representing the rich beauty and detail found only in an albumen print.Source: Joseph Bellows Gallery
Théo Saffroy
Théo Saffroy
France
1992
Théo Saffroy is a 27-year-old French photographer based in Paris. He is settled in France after years living abroad in Mexico, Sweden, and Belgium. In 2016, after he got his degree in Business Administration, he created a documentary project and led a 25.000 kms motorcycle journey in South America to work on native communities such as the Mapuche, the Quechuas and the Yaneshas. Back in France after 8 months on the road, he made his first exhibition and became professional. He has been part of Hans Lucas Studio since 2019. He is both a documentary photographer and brand content creator. His documentary work focuses on the human being and questions notions of identity, memory, and transmission. He is particularly interested by the link between people and their traditions and seeks to document isolated and singular lifestyles all around the world. Besides, he is a content creator for innovative brands. He is specialized in portraiture and report as a photographer and filmmaker. Theo's work has been published in French press such as L'Equipe Magazine, Fisheye Magazine, Paris Match, Le Figaro, Courrier International, Marianne, L'Obs, France Info.
Jennifer Thoreson (Hudson)
Jennifer Thoreson (Hudson)
United States
Jennifer B Thoreson (Hudson) is a fresh, young visual fine art photographer creating staged imagery that is both artistically stylized and meticulously crafted. Drawing inspirations from themes of faith, restitution and re-purpose, and the intricacy of personal relationships, Jennifer is a dynamic and emotional illustrator of the human heart. With an innate ability to plumb the antique, the work is soulful; seeking the use of the forgotten or discarded, eerie and quiet. Raised in a spiritual and conservative home in rural Texas, Jennifer grew up imaginative, curious, and experimental, and has used her upbringing in her intensely personal artwork to bring insight and awareness using heartfelt, acutely mapped personal experiences. Jennifer is currently working in Albuquerque. New Mexico. she is an MFA Degree Candidate at the University of New Mexico, and is studying within the studio art in Photography program. Alongside varied private portrait commissions, she is an international speaker and lecturer whose programs are sought after year after year by many professional public and private photographic organizations. She has just completed her latest major body of work entitled ‘Medic’, a collection of ten images exploring the breadth of human relationships during illness and recovery. Jennifer’s work has been a part of many group and solo exhibitions, and is represented by three major galleries across the country. Exclusive Interview with Jennifer B Thoreson (Hudson): All About Photo: Where did you study photography? Jennifer Thoreson:The University of New Mexico How long have you been a photographer?About 12 years. What or who inspires you?Thomas Demand, Ann Hamilton, Rachel Whiteread, Francesca Woodman, Deborah Turbeville, Sarah Moon, Gertrude Kassebier, Julia Margaret Cameron Do you have a favorite photograph or series?Deborah Turbeville's Past Imperfect What kind of gear do you use? Camera, lens, digital, film?I have a Nikon D3, and use the 24-70mm 2.8 for just about everything. What advice would you give a young photographer?First, commitment and conviction are paramount. If you combine conviction and energy, you've really got something. Second, be humble, engaged, passionate, and well spoken. An idea, a sentence, a project you would like to share?I'm working on a project now about re-birth and reconciliation. I'm creating large scale installations in each room of a house, and photographing them with human subjects. The house itself, and all of the furnishings are unwanted or discarded items I have collected. I'm repairing them, beautifying, and repurposing them for the photographs; sort of a baptism for each object. The finished work will be photographs; small records, or documents of the transformation. The compliment that touched you most?Someone once told me that one of my photographs helped her to cope and heal from a life crisis. It meant the world to me. If you were someone else who would it be?Imogen Heap.Your favorite photo book?'Francesca Woodman' See the Book
Francesca Hummler
Francesca Hummler
United States/Germany
1997
Francesca Hummler is a German-American visual artist and researcher working with photography. She received her B.A. in Media Arts and B.S. in Biochemistry from the University of California at San Diego in 2019. She completed a Master's in Photography with distinction for her dissertation, "American Identity and Photographic Healing", from The Royal College of Art in London, England, in 2022. Interested in issues regarding identity, she draws from her experience as the daughter of German immigrants in the United States to explore the archive, familial intimacy, and generational trauma. Influenced by the concept of photo-therapy Francesca often utilizes self-portraiture to untangle her sense of self. In 2021 she was selected as one of the laureates of the Carte Blanche Étudiants award and displayed her work at Paris Photo. In 2022 she won the Young Talent Award from the Vonovia Award for Photography and had her work displayed in the Sprengel Museum. Her work was collected by the Odunpazarı Modern Museum in Türkiye, featured in the Hamburg-based magazine Photonews, and she was interviewed by Deutschlandfunk Kultur. In May 2023, she had her first solo in Erlangen, Germany, quickly followed by her second solo show in London as a part of the Deptford X Festival. Recently, her series “Das Kuckucksei” or “The Cuckoo's Egg” was published in the January 2024 issue of Artforum magazine.
Nicolas Castermans
Nicolas Castermans
France
1991
My name is Nicolas Castermans. I was born in the French Alps, in a little countryside village on the border with Switzerland. I turned 31 years old last June (2022). At the age of 21, I went abroad. I did a Masters degree in International Business in China, where a real passion for traveling was born in me. I spent every spare moment that I had, with an amazing group of friends, discovering this huge country and South-East Asia. I explored this continent for about 3 years and this is where I lived my first real adventures, like Vietnam on motorbike, or traveling 14,000 km from Hong Kong to France, via the Trans-Siberian train. During this trip, I had the chance to meet Izabela, a wonderful Polish traveler, who made me the honor of becoming my wife 5 years ago. Together, we decided to go to South America, and after a year in Peru, we set up our own travel agency there. While developing this activity and guiding our first clients, I started to photograph and document what I was experiencing. Slowly, photography became a real passion ! We’ve been now on the continent for about 6 years. I can’t stop being fascinated by the diversity of cultures and landscapes in the Andes. Since February 2021, we’ve embarked on a motorcycle trip in Colombia that has taken us to Northern Argentina so far, while keeping organizing/guiding trips for our travel agency. I’ve also developed Photo Tours on the continent that I lead myself. Who knows where all these adventures will take us in the near future...
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