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Antonio Masiello
Antonio Masiello
Antonio Masiello

Antonio Masiello

Country: Italy
Birth: 1987

Antonio Masiello was born in Rome on 1987. Journalist since 2013, he documented the Kosovo and Lebanon for the foreign mission of Italian army between 2013 and 2014.

On 2015 he began a collaboration with the photo agency Nurphoto, for which he follows the main international news.

His works are currently published in the main foreign magazines, among others: TIME Magazine, The Wall Street Journal, Newsweek USA and Europe, The week USA, Vanity Fair USA, Fortune, Mashable, Frankfurter Allgemeine, The Guardian, The Times, The independent, Die Zeit Magazine, The Sun, The Telegraph, Internazionale, Panorama.

With his work on the refugees in Greece, he won the Award of Excellence at the Picture of the year international (POYi) and is a Finalist in the LensCulture Exposure.

He is based and works in Rome.
 

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Denis Dailleux
France
1958
Denis Dailleux, (b. 1958, Angers) lives in Paris when he is not in India, Egypt or Ghana. Represented by Agency VU', Camera Obscura Gallery (Paris), Galerie 127 (Marrakech), Galerie Peter Sellem (Francfort) and the Box Galerie (Brussels), his work has been exhibited and distinguished worldwide. He is the acclaimed author of several books about Egypt: Habibi Cairo, Le Caire mon amour (Filigranes, 1997), Le Caire (Le Chêne, 2001), Impressions d'Egypte (La Martinière, 2011), Egypte, Les Martyrs de la révolution (Le Bec en lair, 2014), Mères et fils (Le Bec en l'air, 2014), Ghana (Le Bec en l'air, 2016) and Persan-Beaumont (Le Bec en l'air, 2018). "Imbued with his distinctive delicacy, Denis Dailleux's photographic work appears calm on the surface, yet is incredibly demanding, run through by an undercurrent of constant self-doubt and propelled by the essential personal bond he develops with those (and that which) he frames with his camera. His passion for people has naturally led him to develop portraiture as his preferred means of representing those whose true self he feels an urge to get closer to. Which he has, with actress Catherine Deneuve as well as with countless anonymous subjects from the slums of Cairo, working with the same discretion, waiting to get from his subjects what he is hoping they will offer him, without ever asking for it, simply hoping that it will happen. That is how he has patiently constructed a unique portrait of his beloved Cairo to create, with black and whites of exemplary classicism and colors of rare subtlety, the definite alternative to the heaps of cultural and touristic clichés which clutter our minds." -- Christian Caujolle These past years, while continuing to photograph Egypt, Denis Dailleux has traveled regularly to Ghana where he explores new relations with regard to body and space, life and death, community, the sea, which opens up new horizons to his photographic research. Regularly exhibited and published in the national and international press, Denis Dailleux is also the winner of prestigious prizes, including the World Press Photo - Category Staged Portraits for his series Mother and Son in 2014, and in 2019 the Roger Pic Prize awarded by Scam for his series In Ghana - We shall meet again. Article Discover Denis Dailleux's Exclusive Interview Galleries Galerie Camera Obscura Galerie 127 Galerie Peter Sellem Box Galerie
Szymon Barylski
Poland
1984
Szymon Barylski Polish freelance photographer born in 1984 based in Ireland. He has been published, among others, The Irish Times, National Geographic Poland, The Eye of Photography, Edge of Humanity Magazine. He has had a number of exhibitions in many countries including 3rd Documentary Photography Days in Istambul, MIFA Photography, The SE Centre for Photography- Documentary Photography. His pictures were awarded in many competitions. Szymon is involved in documentary photography and photo essays. Photographing for he is a tool for exploring and learning about the world. He tries to tell a story and show it directly. In his opinion, people are an inexhaustible topic and a source of inspiration. Szymon said: „When traveling, I meet people; as a result, I create the image of my relation with them. The exploration of the environment where I take photos allow me to create emotional and convincing scenes.“ He thinks you cannot photograph the things you do not know well. That is why he prepares himself for each project individually, accurately, going into detail in the newspapers and on the Internet. Next, he looks for an inspiration in other photographer’s photos and conversations, as a result, he can create real pictures. His own narrative presented in his photos are at the same time very personal and common. Szymon thinks that a lot of people can identify themselves with his works. Photographer wish his photos could increase individual and collective awareness about the social, political and economic need and urge people to act, be part of positive changes.
Annie Leibovitz
United States
1949
Annie Leibovitz is an American portrait photographer best known for her engaging portraits, particularly of celebrities, which often feature subjects in intimate settings and poses. Leibovitz's Polaroid photo of John Lennon and Yoko Ono, taken five hours before Lennon's murder, is considered one of Rolling Stone magazine's most famous cover photographs. The Library of Congress declared her a Living Legend, and she is the first woman to have a feature exhibition at Washington's National Portrait Gallery.Source: Wikipedia Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. While studying painting at the San Francisco Art Institute, she took night classes in photography, and in 1970, she began doing work for Rolling Stone magazine. She became Rolling Stone’s chief photographer in 1973. By the time she left the magazine, 10 years later, she had shot 142 covers. In 1983, she joined the staff at Vanity Fair, and in 1998, she also began working for Vogue. In addition to her magazine editorial work, Leibovitz has created influential advertising campaigns for American Express and the Gap and has contributed frequently to the Got Milk? campaign. She has worked with many arts organizations, including American Ballet Theatre, the Brooklyn Academy of Music, and the Mark Morris Dance Group, and with Mikhail Baryshnikov. Her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), Annie Leibovitz: Portraits 2005-2016 (2017), The Early Years, 1970–1983 (2018), and Wonderland (2021). Exhibitions of her images have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery, in Washington, D.C.; the International Center of Photography, in New York; The Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Centre National de la Photographie, in Paris; and the National Portrait Gallery in London. Leibovitz has been designated a Living Legend by the Library of Congress and is the recipient of many other honors, including the Barnard College Medal of Distinction and the Infinity Award in Applied Photography from the International Center of Photography. She was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. She lives in New York with her three children, Sarah, Susan, and Samuelle.Source: Vanity Fair Leibovitz became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine, she had amassed 142 covers and published photo essays on scores of stories, including the 1975 Rolling Stones tour. Moments of freedom and an unyielding imagination fed the evolution of Leibovitz’s photography. The monumental body of work taken during her thirteen-year tenure at Rolling Stone blurred the lines between celebrity and civilian, interviewer and interviewee, artist and subject, dissolving the boundary separating Leibovitz from those captured in her photographs. Documenting fellow reporters and photographers in addition to their subjects, Leibovitz highlighted those hidden behind the camera and brought them to the forefront. Leibovitz recorded major political moments of the Seventies in the United States, including the 1972 presidential campaign, which she covered with the writer Hunter S. Thompson. In a haunting photograph taken when President Richard Nixon resigned, on August 9, 1974, Leibovitz’s camera records his helicopter as it takes off from the White House lawn. Her immersion within the political landscape extended to photographs from the 1976 election, when figures such as Jerry Brown and Jimmy Carter seized national attention. The artist photographed the Democratic National Convention in New York City, showcasing candid moments with Dianne Feinstein and journalists such as Sally Quinn and Dan Rather. Leibovitz’s unobtrusive lens implicates both the photographer and her colleagues as significant actors and contributors to cultural moments. When traveling with the Rolling Stones to document their tour of the Americas in the summer of 1975, Leibovitz entered the band’s world to such a degree that only her camera served as a reminder of her identity. It was Leibovitz’s distinct ability to immerse herself in varying environments that enabled a direct engagement with her subjects, revealing their true, honest, and perhaps most vulnerable selves. Leibovitz began using a medium-format camera that produced square photographs and was appropriate for shooting set-up portraits with a strobe light. The planned portraits were based on a straightforward idea often stemming from a deeply personal collaboration with her subjects. Evidencing a level of uncanny intimacy and an uncommon depth of engagement, this relationship can be seen in one of her most celebrated photographs, in which a naked John Lennon clutches Yoko Ono. The portrait, made on December 8, 1980, was meant to serve as an intimate emblem of the couple’s relationship. When Lennon was killed just hours after the photo was taken, the image became a powerful visual memorial. In 1983, when Leibovitz joined the staff of the revived Vanity Fair, she was established as the foremost rock-music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear. Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time.Source: Hauser & Wirth
Pieter Hugo
South Africa
1976
Pieter Hugo was born 1976 and grew up in Cape Town, South Africa. He is a South African photographer who primarily works in portraiture and whose work engages with both documentary and art traditions with a focus on African communities. Hugo is self-taught, having picked up a camera aged 10. He remembers the first image he printed, which was a homeless person in Johannes. After working in the film industry in Cape Town, Pieter Hugo spent a two-year Residency at Fabrica, Treviso, Italy. Hugo has called himself a political-with-a-small-p photographer... it's hard not to be as soon as you pick up a camera in South Africa'. He believes that "the power of photography is inherently voyeuristic but I want that desire to look to be confronted." He also states that he is "deeply suspicious of the power of photography." Early on in his career he noticed that, "he often found himself being critically scrutinized by the subject he was photographing. It was then that he decided to switch to a larger and more cumbersome format of photography, one that would require negotiating consent and dialogue with the person being photographed - a more sedate and contemplative approach." He is known to use a Hasselblad camera and regularly shoots in the 4x5 format. His influences range from South African photojournalist David Goldblatt to Boris Mikhailov. However, his work reacts against 'the culture of realism that defined South African photography in the struggle years.' Hugo's first major photo collection Looking Aside consisted of a collection of portraits of people "whose appearance makes us look aside", his subjects including the blind, people with albinism, the aged, his family and himself. Explaining his interest in the marginal he has said, "My homeland is Africa, but I'm white. I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." This was followed by Rwanda 2004: Vestiges of a Genocide which the Rwanda Genocide Institute describes as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered." His most recognized work is the series called The Hyena & Other Men and which was published as a monograph. It has received a great deal of attention. Hugo won first prize in the Portraits section of the World Press Photo 2005 for a portrait of a man with a hyena. In 2007, Hugo received the Standard Bank Young Artist Award 07. Hugo was also working on a series of photographs called Messina/Mussina that were taken in the town of Musina on the border between Zimbabwe and South Africa and which was published as a monograph. At the time Colors magazine asked Hugo to work on an AIDS story and he was fascinated by the marginal aspect of the town. This was followed by a return to Nigeria with Nollywood, which consists of pictures of the Nigerian film industry. Permanent Error followed in 2011 where Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. Sean O'Toole writes "if Nollywood was playfully over-the-top, a smart riposte to accusations of freakishness and racism leveled at his photography..., Permanent Error marks Hugo’s return to a less self-reflexive mode of practice." In 2011 Hugo collaborated with Michel Cleary and co-directed the video of South African producer/DJ Spoek Mathambo's cover version of Joy Division's She's Lost Control, the fourth single from his album Mshini Wam. Commissioned by Italian luxury label Bottega Veneta, Hugo photographed models Amanda Murphy and Mark Cox for the brand’s spring/summer 2014 campaign, with the images shot in a wood in New Jersey. In the Spring of 2014, Hugo was commissioned by Creative Court to go to Rwanda and capture stories of forgiveness as a part of Creative Court's project Rwanda 20 Years: Portraits of Forgiveness. The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition Post-Conflict which was curated by Bradley McCallum, Artist in Residence for the Coalition for the International Criminal Court. Flat Noodle Soup (2016) chronicles Hugo's lengthy engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and transnational. La Cucaracha is a 2019 body of work made during four trips to Mexico over a two-year period. The photographic series explores Hugo's perception of the flamboyant and violent environment of Mexico with overt art historical references to the nation's visual canon of pre-colonial customs and revolutionary ideology.Source: Wikipedia Between 2006 and 2013, Pieter Hugo worked on a project that he called Kin. This deals with home, proximity, identification and a sense of belonging – something that, in South Africa, he has always experienced as being critical and riddled with conflict: How can one live in this country, which only shed its colonial heritage relatively recently, and which is plagued by racism and a growing chasm between rich and poor? Hugo shot photos at home, in townships and at historical sites, taking portraits of his pregnant wife, of domestic servants and of homeless people. The calm and clearly composed shots show beauty and ugliness, wealth and poverty, private and public, historical and topical. Without either idealising or dramatizing the subject matter, they paint a portrait of the complex society in South Africa today. This is because any notion of harmony in the “Rainbow Nation” is wishful thinking. Even twenty years after the end of apartheid, black and white South Africans are still very much divided. In the series of 94 platinum prints There Is A Place in Hell for Me and My Friends (2011-2012), Pieter Hugo explores the supposed differences between skin colours. To do so, he took portraits of himself and South African friends. The close-ups, generally in the form of frontal head and shoulder portraits, were digitally processed afterwards. The image manipulation, whereby the colour channels were translated into grey tones, emphasise the pigmentation of the skin, using UV irradiation to render visible skin damage and small blood vessels directly beneath the skin. The results are quite astounding: on these photographs, all people are coloured. There is no longer a difference between “white” and “black” skin, but rather a variety of individual shades. The portraits show the powerful presence of each individual and, at the same time, the fragility of all people and the softness and utter vulnerability of their outer shell. With his various photo series, Pieter Hugo has put together an impressive body of work in the space of just a few years. Through this intense perception of corporeality, he captures the complexity and inconsistency of society. Constants in his work include seriousness, neutrality and an underlying respect for his protagonists, whose dignity always remains intact. In this regard, his works are comparable with the monumental portrait works of August Sanders, who created a contemporary picture of the Weimar Republic with his large-scale cycle “Menschen des 20. Jahrhunderts” (People of the 20th Century).Source: Priska Pasquer
Jennifer Shaw
United States
Jennifer Shaw earned a BFA in photography at the Rhode Island School of Design. Her photographs have been featured in B&W, American Photo, Shots, Light Leaks, The Sun, and Oxford American magazines, online publications including NPR, Fraction Magazine, One One Thousand, Lenscratch, and Brain Pickings, and are included in two recent monographs: Hurricane Story (Chin Music Press, 2011), and Nature/Nurture(North Light Press, 2012). Her work is exhibited widely and held in collections, including the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Museum of Fine Arts Houston. Shaw is based in New Orleans, Louisiana where she teaches the disappearing art of darkroom photography at the Louise S. McGehee School in addition to chasing after two young sons. Statement: Photography is always an act of discovery for me. It’s about the joy of seeing and the mysterious convergence of light, texture and form as translated onto film. A sense of wonder and a reverence for beauty are motivating factors that lead me to document and interpret the world through the camera’s lens. I attempt to create images that transcend literal description, reaching beyond the physical surface of the subject to resonate with viewers on an emotional level. Most of my work is created using toy cameras. These simple plastic devices lend a whimsical spontaneity to the act of photographing. Although they offer little control in making exposures, their quirks can sometimes result in magic. I print my black and white images in the darkroom on traditional silver paper, then split-tone them to add depth and color. This toning method can be unpredictable, and like every other part of my process, owes a bit to serendipity. The color work is shot on film, then scanned to make archival pigment prints on Hahnemuhle Rag 308 paper.
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