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Nobuyoshi Araki
Nobuyoshi Araki

Nobuyoshi Araki

Country: Japan
Birth: 1940

Nobuyoshi Araki is a Japanese photographer and contemporary artist. He is also known by the nickname Arākī. He was born in Tokyo, studied photography during his college years and then went to work at the advertising agency Dentsu, where he met his future wife, the essayist Yōko Araki. After they were married, Araki published a book of pictures of his wife taken during their honeymoon titled Sentimental Journey. She died in 1990. Pictures taken during her last days were published in a book titled Winter Journey.

Having published over 350 books by 2005, and still more every year, Araki is considered one of the most prolific artists alive or dead in Japan and around the world. Many of his photographs are erotic; some have been called pornographic. Among his photography books are Sentimental Journey (1971, but later reissued), Tokyo Lucky Hole (1985), and Shino. He also contributed photography to the Sunrise anime series Brain Powered.

In 1981, Araki directed High School Girl Fake Diary a Roman Porno film for Nikkatsu studio. The film proved to be a disappointment both to Araki's fans, and to fans of the pink film genre.

The Icelandic musician Björk is an admirer of Araki's work, and served as one of his models. At her request he photographed the cover and inner sleeve pages of her 1997 remix album, Telegram. More recently, he has photographed pop singer Lady Gaga. Araki's life and work were the subject of Travis Klose's 2005 documentary film Arakimentari.

His works are held in numerous museum collections including the Tate and the San Francisco Museum of Modern Art.

Source: Wikipedia


Nobuyoshi Araki is a prolific photographer who has produced thousands of photographs over the course of his career. He became famous for Un Voyage Sentimental (1971), a series of photos depicting both banal and deeply intimate scenes of his wife during their honeymoon.

A number of his works feature young women in sexualized situations: Kinbaku, a series from 1979, features 101 photographs of women in rope bondage. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. More recently, Araki has been working on a series titled Faces of Japan (2009-) in which the artist photographs 500 to 1,000 people in each of Japan’s prefectures.

Source: Artsy


Nobuyoshi Araki is a contemporary Japanese photographer known both for his prolific output and his erotic imagery. While sometimes focusing on quotidian subject matter, including flowers or street scenes, it is Araki’s sexual imagery that has elicited controversy and fascination. Similar to the work of Helmut Newton, Araki often addresses subversive themes—such as Japanese bondage kinbaku—in his provocative depictions of female nudes. “Women? Well, they are gods. They will always fascinate me. As for rope, I always have it with me. Even when I forget my film, the rope is always in my bag,” he said of his subject matter. “Since I can't tie their hearts up, I tie their bodies up instead.”

Born on May 25, 1940 in Tokyo, Japan, he studied photography at Chiba University, before pursuing a career as a commercial photographer upon his graduation in 1963. In 1970, while working as a freelance photographer, he began to publish numerous photography books, including Sentimental Journey (1971), a visual narrative of the honeymoon with his wife Aoki Yoko. Araki currently resides in Tokyo, Japan, a city that has served as a constant source of inspiration throughout his career. Today, his works are held in the collections of the Institute of Design in Chicago, the Goetz Collection in Munich, and the San Francisco Museum of Modern Art, among others.

Source: Artnet


 

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B Jane Levine
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B Jane Levine was raised in the suburbs of New Jersey, a short bus ride from New York City. She has a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise her family. After leaving research, she took an interest in photography and began taking classes at ICP and other online platforms. She further honed her skills through many photography trips all over the world. Her photography spans many genres including street photography, landscape photography, and long exposure cityscapes. Currently, her focus is a series of candid portraits of strangers captured on the streets of New York City. Statement I prefer to capture moments on the street without the knowledge of the subject so that the expression, gesture and/or movement are authentic. Sometimes I get caught and a subject will give me that nod of recognition at the moment of the shot or after I press the shutter. I often go out with no expectations of subject matter other than looking for a moment, which elicits some emotion that I respond to with the subject, it is mainly driven by an internal signal that connects me to the subject or situation. Experimentation keeps me in the moment. I try to respect the subjects that I photograph. People show themselves on the street the way they want others to perceive them. I take an image of a moment, which I observe with no other intent other than to memorialize the moment, which I recognize is real for the subject as well as myself. The people in the photographs all possess a characteristic, gesture, or physical trait that I identifies as part of my own story. The series is a composite of pieces of my life – a self-portrait.
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United States
1918 | † 2006
Arnold Abner Newman was an American photographer, noted for his "environmental portraits" of artists and politicians. He was also known for his carefully composed abstract still-life images. Born in Manhattan, Newman grew up in Atlantic City, New Jersey, and later moved to Miami Beach, Florida. In 1936, he studied painting and drawing at the University of Miami. Unable to afford to continue after two years, he moved to Philadelphia to work for a studio, making 49-cent portraits in 1938. Newman returned to Florida in 1942 to manage a portrait studio in West Palm Beach. Three years later, he opened his own business in Miami Beach. In 1946, Newman relocated to New York, opened Arnold Newman Studios and worked as a freelance photographer for Fortune, LIFE, and Newsweek. Though never a member, Newman frequented the Photo League during the 1940s. Newman found his vision in the empathy he felt for artists and their work. Although he photographed many personalities—Marlene Dietrich, John F. 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A musician for instance might be photographed in their recording studio or on stage, a Senator or other politician in their office or a representative building. Using a large-format camera and tripod, he worked to record every detail of a scene. Newman's best-known images were in black and white, although he often photographed in color. His 1946 black and white portrait of Stravinsky seated at a grand piano became his signature image, even though it was rejected by Harper's Bazaar, the magazine that gave the assignment to Newman. He was one of the few photographers allowed to make a portrait of the famously camera-shy Henri Cartier-Bresson. Among Newman's best-known color images is an eerie portrait from 1963 that shows former Nazi industrialist and minister of armament Alfried Krupp in one of Krupp's factories. 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He is recognized as the “Father of Environmental Portraiture.” His work is collected and exhibited in the major museums around the world including the Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; The Chicago Art Institute; The Los Angeles Museum of Art; The Philadelphia Museum; The Tate and the National Portrait Gallery, London; The Israel Museum, Jerusalem; and many other prominent museums in Europe, Japan, South America, Australia, etc. Newman was an important contributor to publications such as The New Yorker, Newsweek, Vanity Fair, LIFE, Look, Holiday, Harper's Bazaar, Esquire, Town and Country, Scientific American, New York Times Magazine, and many others. There are numerous books published of Newman’s work in addition to countless histories of photography, catalogues, articles and television programs. He received many major awards by the leading professional organizations in the U.S. and abroad including the American Society of Media Photographers, The International Center of Photography, The Lucie Award, The Royal Photographic Society Centenary Award as well as France’s “Commander of the Order of Arts and Letters.” In 2005, Photo District News named Newman as one of the 25 most influential living photographers. In 2006, Newman was awarded The Gold Medal for Photography by The National Arts Club. He is the recipient of nine honorary doctorates and has lectured and conducted workshops throughout the country and the world. Arnold Newman died on June 6, 2006 in New York City. He was 88 years old.Source: arnoldnewman.com Arnold Newman is widely renowned for pioneering and popularizing the environmental portrait. With his method of portraiture, he placed his sitters in surroundings representative of their professions, aiming to capture the essence of an individual’s life and work. Though this approach is commonplace today, his technique was highly unconventional in the 1930s when began shooting his subjects as such. He is also known for his carefully composed, abstract still lifes.Source: Howard Greenberg Gallery "We do not take pictures with our cameras, but with our hearts and minds,” so said Arnold Newman, one of the world's best-known and most admired photographers to have ever lived. Known for his “environmental portraits” of artists and politicians, he captured the essence of his subjects by showing them in their natural surroundings. As he said, “I didn't just want to make a photograph with some things in the background. The surroundings had to add to the composition and the understanding of the person. No matter who the subject was, it had to be an interesting photograph. Just to simply do a portrait of a famous person doesn't mean a thing.” Newman was a master at composition and was meticulous about his work. He even used a large-format camera and tripod to ensure that every detail of a scene was recorded. His signature image, the one most will remember him by, is the last one in this post. It's a beautiful, black and white portrait of Russian Composer Igor Stravinsky seated at a grand piano. Look closely and you'll notice that the piano was strategically silhouetted against a blank wall, creating an illusion that the lid is an abstract musical note.Source: My Modern Met
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They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. 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As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." 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John Delaney
United States
1963
In today's growing global society the precious differences between our many world cultures are rapidly eroding away. What do we all lose when an ancient culture disappears and centuries of tradition are abandoned and then forgotten? For me, photography has become a way to speak out against this passing. It is a way to record an existence that may soon vanish, to capture and celebrate what it is that makes a people unique, not just in appearance, but also in spirit. The method and style of my photography is very traditional. My equipment has changed little in over a century. I travel with a large format wood view camera and a portable studio tent. My traveling studio not only controls the light but also serves as a common meeting ground in which my subjects present themselves. I give them little direction and I let serendipity rule the moment. The goal is to create a portrait that reveals something beneath the obvious: a sense of grace, nobility, or humanity. The photograph needs to be more than just an observation. It is my hope that the connection made between the subject and myself will be passed on to others through my work. My wish is to honor my subjects in a simple un-patronizing and respectful way. The images that are captured on film come to life for me in the darkroom. Irving Penn said, "A beautiful print is a thing in itself, not just a halfway house on the way to the page". I love to dig deep into a negative to create a print that is full of the light, textures, and depths of expression that I experienced in the field. The result should be an image that not only tells a story about its subject, but is also a beautiful object in itself. Native Americans referred to photographers of the 19th century as "shadow catchers", and feared that the camera would steal away their spirit. That, in fact, is exactly what I hope to do. Not only to capture light, but also the "essence" of the people I photograph. In this way maybe I can preserve more than just a moment before it fades away into time.My love of photography began when I discovered Irving Penn's Worlds in a Small Room. Penn's work, as well that of Bruce Davidson, sparked my creative imagination. I attended Rochester Institute of Technology where I was taught the science and history of photography. But my real education began at the Richard Avedon Studio. I started as his studio assistant then eventually became his master printer. For 15 years I observed his passion, intelligence and meticulous craftmanship. That relationship opened the door to working with my original heros, Irving Penn and Bruce Davidson. Each of these masters informs and inspires my work. Mr. Penn for his wide range and love for the exquisite print; Davidson for the way he immerses himself in his subject, instilling trust; and Avedon with his intense preparation and skillfull cajoling, getting behind the "masks" of his subjects. Source: www.johndelaney.net
Dan Budnik
United States
1933 | † 2020
Dan Budnik (b.1933, Long Island, NY) studied painting at the Art Students’ League of New York. After being drafted, he started photographing the New York school of Abstracts Expressionist and Pop Artists in the mid-fifties, making it a primary focus for several decades. He made major photo-essays on Willem de Kooning and David Smith, among many other artists. It was his teacher Charles Alston at the Art Students’ League of New York, the first African American to teach at the League, who inspired his interest in documentary photography and the budding Civil Rights Movement. In 1957 he started working at Magnum Photos, New York, assisting several photographers, notably Cornell Capa, Burt Glinn, Eve Arnold, Ernst Haas, Eric Hartmann and Elliott Erwitt. In March 1958 Budnik travelled to live with the underground in Havana for 6 weeks during the Cuban revolution. Budnik continued to work with Magnum for half of his time, until joining as an associate member in 1963. In 1964 he left Magnum and continued specializing in essays for leading national and international magazines, focussing on civil and human rights, ecological issues and artists. Since 1970 Budnik has worked with the Hopi and Navaho traditional people of northern Arizona, and received for this work a National Endowment for the Arts Grant in 1973 and a Polaroid Foundation Grant in 1980. In 1998 he was the recipient of the Honor Roll Award of the American Society of Media Photographers. He lives and works in Tucson and Flagstaff, Arizona. Source: danbudnik.com
Fabio Bucciarelli
Fabio Bucciarelli is an international photographer, journalist, and author renowned for his coverage of global conflicts and the dire humanitarian fallout they entail. With a career spanning over 15 years, he has documented major global events, capturing images that reflect his unwavering empathy and commitment to telling the stories of those affected by war, climate change, and other human rights crises. His work is a powerful call to action, advocating for those whose lives have been upended by these devastating issues. He’s reported from conflict zones across the Middle East, including Libya during the civil war and the fall of Gaddafi, and Syria during the battle of Aleppo, Iraq, Gaza, Iran, Egypt, Turkey, and Ukraine since the start of the conflict in 2014. Bucciarelli has also documented the humanitarian crises that have unfolded in Africa, including South Sudan and Mali. In addition to his coverage of conflicts and humanitarian crises, he has reported on a range of global events, including the devastating wildfires in Brazil, the protests against the neoliberal economic system in Chile, and the mass migration of Central Americans to the United States. In 2020 and 2021, he covered the COVID-19 pandemic at its epicenter in Italy for The New York Times. Most recently, he returned to Ukraine to document the Russian invasion as a special correspondent for Italian TV News TG3/Rai3, as well as on assignment for leading international publications, including Die Zeit and Il Fatto Quotidiano. Fabio Bucciarelli’s unwavering commitment to telling important stories through vivid imagery and detailed reporting has earned him widespread recognition and respect within the industry. His reporting on the Syrian War earned him the prestigious Robert Capa Gold Medal from the Overseas Press Club of America. He has won 10 Picture of the Year International awards, 2 World Press Photo awards, 2 Sony World Photography Awards, the Prix Bayeux-Calvados for War Correspondents, VISA d’Or News of Perpignan, Lucie Foundation, Yannis Behrakis International Award, Premio Ponchielli, World Report Award, Best of Photojournalism, Days Japan International, Kuala Lumpur International PhotoAwards and Getty Images Editorial Grant among others accolades. He was named Photographer of the Year in 2019 and Photographer of the Year Award of Excellence in 2023 for his work covering the war in Ukraine and the devastating impact of the climate crisis in South Sudan. Today Bucciarelli contributes to leading news outlets, including The New York Times, La Repubblica, Die Zeit, Il Fatto Quotidiano, La Stampa, Yahoo News, Newsweek, L’Espresso, Time Magazine, Al Jazeera, Paris Match, M Le Monde, and Internazionale, among others. Additionally, he collaborates with several NGOs and international agencies, including UNHCR, ICRC, Emergency, Intersos, and Soleterre. In 2006, Fabio Bucciarelli earned an MS in Telecommunication Engineering from the Politecnico of Turin before embarking on his career as a photographer. The following year, he was selected for the “Master dei Talenti” engineering grants program, which enabled him to work in Barcelona. In 2009, he left his engineering job to pursue photography full-time and joined the wire agency La Presse/Ap in Italy as a staff photographer. However, he soon became a freelancer, focusing on documentary photography. In 2015, he co-founded MeMo, a cooperative of photojournalists dedicated to pushing the boundaries of digital storytelling. Working alongside coders and graphic designers, MeMo developed apps, interactive exhibitions, and educational programs until 2017. MeMo Magazine was awarded the Derechos Humanos de España Prize as the 1st Prize Winner, recognizing the commitment to telling stories of human and social relevance through digital innovation. In 2016, Bucciarelli successfully crowdfunded and published his book, The Dream, in partnership with New York-based publisher FotoEvidence. The project was a long-term endeavor that began in 2011, covering the refugee crisis in over 11 countries. The Dream is a poignant exploration of the human condition, a narrative experiment that blends photojournalism with conceptual photography. The book was recognized by Time Magazine as one of the best photo books of the year. After covering the “Great March of Return” in Gaza in 2018, he shifted his focus to Central and South America, documenting the migrant exodus to the United States, the Amazon wildlife fires, and the Chilean struggle against the Neoliberal system. These projects earned him the 2019 POYi Photographer of the Year and the 2020 World Press Photo awards, respectively. In 2020 and 2021, Bucciarelli covered the COVID-19 epidemic in its European epicenter in Italy for The New York Times, bringing global attention to the effects of the coronavirus and the resilience of families with multiple covers in the American newspaper. His story “We Take the Dead From Morning Till Night,” was recognized by the Visa d’Or News in Perpignan and the Lucie Impact Award, as well as the Yannis Behrakis International Award. Fabio’s images have been exhibited worldwide in solo and group exhibitions at museums and galleries, and his artworks are part of several collections. His photographs have also been featured in international art fairs, including Photo London, AIPAD New York, MIA Milano, ArtVerona, Photo Basel, and Zona Maco Mexico. Over the past ten years, Fabio has dedicated himself to spreading information and expanding his journalistic reach to engage an ever-growing audience. He has taught at Italian universities and led international photojournalism courses and masterclasses. His expertise in conflict zones has been shared through numerous conferences and lectures at significant national and international festivals. Fabio has spoken at events such as the International Journalism Festival in Perugia, Repubblica delle Idee, the Turin International Book Fair, the Bronx Documentary Center in New York, Visa pour l’Image in Perpignan, and various cities around the world including Copenhagen, Sofia, Kuala Lumpur, and Vilnius. Alongside his projects as a photographer and reporter, he has been assigned to work as a curator and Artistic Director by several museums and institutions, including the Italian Ministry of Foreign Affairs. In November 2023, Fabio Bucciarelli became a Canon Ambassador, aligning himself with a distinguished group of the industry’s renowned photojournalists. His presence among these dedicated storytellers reflects his commitment to excellence and his significant contributions to the world of photography. Source: www.fabiobucciarelli.com
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Grace Weston’s staged photography transforms miniature vignettes into powerful narratives that explore psychological themes with a playful yet profound touch. Her meticulously crafted scenes invite viewers to delve into stories of power, identity, and human complexity. Weston’s innovative work has earned international recognition, including winning the November 2023 Solo Exhibition. We asked her a few questions about her life and work.
Exclusive Interview with Tebani Slade
Tebani Slade is a fine art, street, and documentary photographer whose work bridges continents, blending the raw authenticity of her Australian roots with the vibrant energy of her second home in Barcelona. Known for her thoughtful approach to storytelling, Tebani immerses herself in unfamiliar settings, capturing unscripted moments that reveal profound truths about the world around her.
Exclusive Interview with Mital Patel
Mital Patel is an internationally recognized nature and wildlife photographer who focuses on capturing beauty in all its forms—whether natural or manmade. From architecture and landscapes to the creatures of the wild, Patel has a distinct passion for capturing the most remarkable elements of life through his visual representation of movement, emotion and mood. From behind the lens, he strives to bring viewers his very unique view of nature, telling a story without words and conveying a feeling in the abstract. He challenges his audience to let their imaginations run free, taking the journey with him on his travels and opening their minds beyond the confines of static photography. In each of his pieces, Patel hopes to offer his audience a way to view the world around them a bit differently – to appreciate the beauty of moments and places that are often overlooked. An intrepid traveler and lover of adventure, Patel’s passion for creative and imaginative photography is a great asset to his exploration of the world, which spans six out of the seven continents. His work is admired worldwide for its unique and artistic perspective.
Exclusive Interview with Steff Gruber
Steff Gruber, is a renowned Swiss photographer and filmmaker whose career spans decades of impactful storytelling. Having started as a press photographer for Keystone Press, Gruber was one of the pioneers of the docudrama genre, making his mark with the internationally acclaimed documentary LOCATION AFRICA. This film, which followed the intense dynamic between Werner Herzog and Klaus Kinski during the making of COBRA VERDE, earned him international recognition and set the tone for his distinct filmmaking style. Gruber's passion for human interest stories has taken him to various countries, where he has documented diverse subjects through his compelling photo stories, often returning multiple times to deepen his understanding of the people and places he captures. His work is celebrated for its striking visual language and his bold approach to narrative, which continues to push boundaries in both photography and film. We asked him a few questions about his life and work.
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Win A Solo Exhibition in March
Win an Online Solo Exhibition in March 2025