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Marco Garabello
Marco Garabello
Marco Garabello

Marco Garabello

Country: Italy

No, I haven't been a photographer for all of my life. When I was younger, I worked as a journalist and TV anchorman, then, for another ten years, I worked as a manager for several companies, both Italian and foreign. Then the "fil rouge" of photography, that crossed my whole life, had the upper hand and became a full-time job, that I could enrich with all my previous experiences.
More than six hundreds awards in International Photo Contests (among which 120 gold medals), earned during the last years in more than fourty countries, show my passion for all kind of photography, from color to monochrome, from portrait to nature, from photojournalism to "creative" photography, from panoramic pictures to travel photography (another passion, strictly linked to photography, that brought me in 63 countries).
...many photographers are specialized in Nature or in Portrait or in Architecture... I cannot! I do not know if this is a limit. Sure it is neither self-conceit nor indifference, but I am really fond of any kind of photography and I like very much to experiment.

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www.garabello.net

 

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Henk Kosche
Henk Kosche
Germany
1966
Since my studies at the art school, photography has been an essential tool for me to investigate something more closely or to create something that does not yet exist. In a particularly well-done picture, these two functions merge, showing a piece of newly acquired knowledge in an aesthetic format. The beauty of an image composition is always involved in the lasting effect of the story told on us via the image. Today I ask myself; how image perception can be "slowed down" again, how the habit of seeing can be adapted to the speed of man again. Without a proper amount of time for a closer look and the necessary attention, a photo loses its real strength; the durability over time.
Henri Cartier-Bresson
Henri Cartier-Bresson
France
1908 | † 2004
Born in Chanteloup, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica - his camera of choice thereafter - and began a life-long passion for photography. In 1933 he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir. Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees. In 1945 he photographed the liberation of Paris with a group of professional journalists and then filmed the documentary Le Retour (The Return). In 1947, with Robert Capa, George Rodger, David 'Chim' Seymour and William Vandivert, he founded Magnum Photos. After three years spent travelling in the East, in 1952 he returned to Europe, where he published his first book, Images à la Sauvette (published in English as The Decisive Moment). He explained his approach to photography in these terms, "For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression." From 1968 he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards and honorary doctorates. He died at his home in Provence on 3 August 2004, a few weeks short of his 96th birthday.Source: Magnum Photos His technique: Henri Cartier-Bresson almost exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white films and sharp lenses, he was able to photograph almost by stealth to capture the events. No longer bound by a huge 4×5 press camera or an awkward medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand [and] the hawk's eye." He never photographed with flash, a practice he saw as "Impolite...like coming to a concert with a pistol in your hand." He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. Indeed, he emphasized that his prints were not cropped by insisting they include the first millimetre or so of the unexposed clear negative around the image area resulting, after printing, in a black border around the positive image. Henri Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw: "Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing." He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as "my only superstition" as he considered it a 'baptism' of the lens. Henri Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. Although he took many famous portraits, his own face was little known to the world at large (which presumably had the advantage of allowing him to work on the street in peace). He dismissed others' applications of the term "art" to his photographs, which he thought were merely his gut reactions to moments in time that he had happened upon. "In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv."Source: Wikipedia Henri Cartier-Bresson has intuitively chronicled decisive moments of human life around the world with poetic documentary style. His photographs impart spontaneous instances with meaning, mystery, and humor in terms of precise visual organization, and his work, although tremendously difficult to imitate, has influenced many other photographers. His photographs may be summed up through a phrase of his own: "the decisive moment," the magical instant when the world falls into apparent order and meaning, and may be apprehended by a gifted photographer.Source: International Center of Photography
Les Schmidt
Les Schmidt
United States
I didn't start photographing until I got into my late thirties after moving into the Warehouse Arts District of New Orleans. I was passionate about collecting modern furniture at the time and only after a chance meeting with a local architect and an interior magazine photographer did I get the opportunity to get behind a professional camera for the first time. I was asked to style several photo shoots for the pair not knowing at the time that this informal training of creating vignettes would become a catalyst for my future work. From capturing sparse coastal and warehouse landscapes in the early 2000s and recording the aftermath of Hurricane Katrina in 2005 to personal still life projects dealing with memory and loss my photographs can be viewed through this same minimalistic lens. My current body of work consists of shooting and printing large-scale nature images as well as a local portraiture series composed in B&W.
Ian Teh
Ian Teh
United Kingdom
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Ian Teh has published three monographs, Undercurrents (2008), Traces (2011) and Confluence (2014). His work is part of the permanent collection at the Los Angeles County Museum of Art (LACMA), The Museum of Fine Arts, Houston (MFAH) and the Hood Museum in the USA. Selected solo shows include the Jack Shainman Gallery in New York in 2004, Flowers in London in 2011 and the Kunsthal Museum in Rotterdam in 2012. Teh has received several honours, in 2018 he was awarded a travel grant from the Pulitzer Centre for Crisis Reporting and presented his work on climate change at the prestigious 2018 National Geographic Photography Seminar. He is also the recipient of the International Photoreporter Grant 2016 the Abigail Cohen Fellowship in Documentary Photography 2014 and the Emergency Fund 2011 from the Magnum Foundation. In 2013, he was elected by the Open Society Foundations to exhibit in New York at the Moving Walls Exhibition. In 2015, during the COP21 Paris climate talks, large poster images of his work were displayed on the streets of Paris as a collaborative initiative by #Dysturb and Magnum Foundation. He is a co-exhibitor in Coal + Ice, an environmental group show of acclaimed photographers and curated by Susan Meiselas. It was exhibited at the Official Residence of the US Ambassador to France during COP21. Teh’s work has been published internationally in magazines such as National Geographic, The New Yorker, Bloomberg Businessweek and Granta. Since 2013, he has exhibited as well as conducted masterclasses at Obscura Festival of Photography, Malaysia’s foremost photo festival. He is a tutor at Cambodia's Angkor Photo Festival since 2014. Teh is a member of the British agency, Panos Pictures.Source: www.ianteh.com Artist Statement: "Much of my artistic creativity stems from my interests in social, environmental and political issues. I imagine my work as a series of short films made out of stills. They are narratives that are built on moments of time collected over extended periods. Each story is a woven fabric of compositional and colour threads that come together to create a particular ambience intended to both emphasize my perspective on the subject matter and to, hopefully, encourage the viewer to take the narrative beyond the limits of my frame, into a direction that makes the experience of those images more vivid. My photographs have been widely exhibited and featured in several international publications such as, Time, Newsweek, The New Yorker and The Independent Magazine. I was recently awarded the 2011 EF grant from the Magnum Foundation and also received a high commendation for the 2009 Prix Pictet award. In 2001 I was part of the Joop Swart Masterclass. With some friends I founded Deep Sleep Magazine an online publication and recently we founded our own imprint Deep Sleep Editions to have more control of the publishing process. I have published two monographs, Undercurrents (2008) and Traces (2011)."
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Christian Chaize
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Christian Chaize, a self-taught artist, lives and works in Lyon, France. In 1992, he was awarded the Prix European Panorama de Kodak for Young European Photographer in Arles, France. In addition to his artistic achievements, he enjoys a successful career as a commercial photographer. In 2004, Chaize became intrigued by a small stretch of coastline in southern Portugal. Itching an artistic scratch, he began shooting what was then an entirely new subject matter for him. Using medium and large format cameras, his commitment to photographing a single beach front several times a year since then is now evident in the series, Praia Piquinia. This work has been the focus of two one-man museum shows in Portugal, as well as gallery exhibitions in New York, Berlin, and Lyon. Among other publications, it has been featured in The Collector’s Guide to New Art Photography Vol. 2, BLINK MAGAZINE, Issue No. 13, and Elle Decor. In addition to its popularity on 20×200.com, Praia Piquinia is also the subject of Chaize’s first monograph, published by Chronicle Books in the Spring of 2013. Paradis, images made in the Seychelles, and To Praia Grande, a separate beach series shot in Portugal, have also been exhibited in New York and Berlin, respectively. Future projects will continue to reveal his interest in enlightening the way we look at something that has otherwise become banal, or merely familiar. In the words of Marcel Proust, and in the tradition of all the great modern photographers who came before him, Chaize is always seeking to « have new eyes ».
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Tomáš Neuwirth
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Tomáš Neuwirth was born in Czech Republic in 1972. He is a freelance photographer specializing in drone photography. A major milestone in his life was the year 1995, when he began to devote himself to paragliding. As a pilot, he was fascinated by taking pictures of the bird's eye, then still on the 35mm film camera. The following year, he moved to the USA. His stay here after three and half years ended the paragliding incident and with serious injuries of the spine he returned to the Czech Republic. He then spent eight months in a sanatorium, learned not only to walk again, but also met his future wife Gabriela. Capturing of aerial footage continued to attract him. And with the advent of unmanned systems, new possibilities were opened. His first drone he folded in 2011, it was a kit. However, the desired shots were made by commercially produced drones in the following years. Today, Tomáš is involved in drone and classical photography professionally. By selecting extraordinary places and post-production processing, he is trying to shift drone photography to the next level. From capturing landscapes to a Fine Art expression. He received many awards from international competitions. In 2019 he succeeded to win with in the prestigious contest MIFA - Moscow International Fotography Awards (Nature Photographer of the Year). In the same year, The Independent Photographer Magazine included his image among the TOP 10 Most incredible landscapes from across the planet. And ranked him in the selection Talents of the Year 2018/2019. He was also nominated for a Personality of Czech Photography. Statement I generally regard art as a form of self-expression. An opportunity to share own opinion, own perception of the world, with others. Photography has become my means of expression. Its strength is in capturing a given moment - a unique, unrepeatable moment. Everything is different in a second. I focus mainly on drone photography which, by its very nature, is predestined for landscape, long-distance views, great depth of field etc. From the perspective of the photographer, there are fewer possibilities for artistic expression. Therefore it depends very much on the choice of location and how to capture it. I, therefore, try to find unusual locations - often places that do not seem that interesting on the first impression. However, a bird's eye view gives them a whole new dimension.
Simon Moricz-Sabjan
Simon Moricz-Sabjan
Hungary
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Simon Móricz-Sabján was born in Kiskunhalas, Hungary in 1980. He is an award-winning photojournalist and documentary photographer living in Budapest, Hungary. Since 2016 he is the official photographer of the Hungarian daily business newspaper Világgazdaság and the monthly business magazine Manager Magazin. Between 2003 and 2016 he worked for Népszabadság, the largest Hungarian independent daily political newspaper which was closed down in October 2016. Apart from his job Simon works on personal projects as well, dedicating a lot of time to develop his personal material, working on photo essays for years in some cases. May it be a social issue or just everyday stories, his main focus is the human being and his surroundings. Simon's work has been recognized by many photography awards. He has won first prizes at the China International Press Photo Contest on two occasions, as well as multiple awards from Pictures of the Year International (POYi), NPPA Best of Photojournalism, Prix International de la Photographie, PDN, iPhone Photography Awards, Ringier Photo Award, Kolga Tbilisi Photo Award and FCBarcelona Photo Award. Among other acknowledgments, he won prizes at Hungarian Press Photo competitions on 37 occasions, including two Grand Prizes of the Association of Hungarian Journalists; five Munkácsi Márton Awards for the best collections; three awards for photographers under 30; the best press photographer award; and two Escher Károly Prizes for the best news photo. Three times winner of József Pécsi scholarship (for talented young art photographers), five times winner of NKA scholarship; he won the Budapest Photography Scholarship in 2012, the Népszabadság Grand Prize in 2013, and the Hemző Károly Prize in 2015. His photos have been exhibited in numerous galleries including the Hungarian National Museum; Mai Manó House (Hungarian House of Photography); Kunsthalle Budapest; Robert Capa Contemporary Photography Center; Palace of Arts, Budapest; The Castle Garden Bazaar, Budapest; Kolga Tbilisi Photo, Tbilisi; POYi, Denver; Expo Milano; Art Gallery Ilia Beshkov, Pleven; Archives Museum, Chengdu; Festival Voies Off, Arles; Museu Agbar de les Aigües, Barcelona; Mies, Switzerland; National Museum, Warsaw. He is a founding member of Pictorial Collective, a group of Hungarian photojournalists.
Clark James Mishler
Clark James Mishler
United States
1948
I was introduced to photography while studying Advertising Design at the Los Angeles Art Center. My life as a photographer has was supplemented by book design and photo editing, including two years as a layout editor for the National Geographic Magazine in Washington D.C. My work has appeared in national and international publications including: Entrepreneur, GEO, National Geographic, National Geographic Traveler, National Geographic World, National Geographic Books, Newsweek, Smithsonian Air & Space, Sunset, Time, and U.S. News and World Report. I am now semi-retired and devoting my time to personal work with emphasis on black and white documentary projects. AAP Competitions All About Photo Awards 2025 Articles: Documenting The Alaska State Fair Traveling Circus American Christmas
Karl Struss
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
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