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Szymon Barylski
Szymon Barylski
Szymon Barylski

Szymon Barylski

Country: Poland
Birth: 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.

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www.szymonbarylski.com

 

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More Great Photographers To Discover

Pierre Faure
Pierre Faure
France
1972
Pierre Faure was born in 1972 in Nice and lives in Paris. He studied economics. He produces at first a work in which abstraction and organic evocations occupy a central place (series Rhizomes, Plis, Palimpsests); series which question the look of the spectator and play with the notions of scales and perspective. He also approaches the social question by realizing a work of dumping within a community Roma of Ile-de-France (2011-2012). In 2013 he is interested in the life of people in big precariousness welcomed in emergency reception center and tries to seize in this everyday life the figures of a wounded humanity. In parallel in these works he pursues since 2010 a series on the urban trees, questioning the place of the vegetable in urban zones.
Anthony Iacuzzi
Anthony Iacuzzi
United States
1944
When I was five years old, my family emigrated from Italy to the United States. We settled in Chicago where I attended public and parochial schools and graduated from Loyola University with a B.S. in Social Sciences degree. After graduation in 1966, I began my career with a major retailer as an advertising copywriter. Eventually, I started my own company as a consultant in marketing communications. My interest in photography began as a teenager with a point'n'shoot Kodak camera. In 1967, my passion for photography took flight after purchasing my first 35mm SLR at a PX on a military base in Vietnam. I used that Mamiya-Sekor to document my 13-month experience there. For several years afterwards, I continued to capture images with that camera until it was stolen. Not long after that loss, I decided to seriously pursue photography. In 1974, while still working full-time, I enrolled as a part-time student at Columbia College, Chicago, There, I studied the history of art and photography, and how to view the world in shades of gray. I learned about chemistry and how to manipulate silver gelatin in the darkroom. I learned about esoteric color processes such as dye sublimation. I also studied the difference between good and great composition, the intricacies of a view camera, and how to approach people on the street and get them to pose willingly. In 1977, I finally earned my B. A. in Photography degree. During the 70's and 80's, I continued to pursue my career, married, bought a home, and raised three children. Although I continued to enjoy photography as a serious amateur, it wasn’t until 2009, that I fully focused my attention on fine art photography. That’s when I approached a colleague with the idea of establishing a fine art photography gallery in Evanston, Illinois. In 2010, together with two other colleagues, we co-founded Perspective Group and Photography Gallery, a not-for-profit cooperative of member artists whose mission is to promote fine art photography. I have been actively involved with Perspective Gallery ever since. Statement: My photography ranges widely in style and content. My images encompass everthing from realism through impressionism and abstraction. Artistically, my intent is to offer the viewer a unique, creative encounter with the intrinsic beauty of the ordinary and commonplace.
Bieke Depoorter
Bieke Depoorter
Belgium
1986
Bieke Depoorter (born 1986) is a Belgian photographer. She is a member of Magnum Photos and has published four books: Ou Menya, I am About to Call it a Day, As it May Be, and Sète#15. Depoorter received a master's degree in photography at the Royal Academy of Fine Arts in Ghent in 2009. The relationships Depoorter establishes with the subjects of her photographs lie at the foundation of her artistic practice. Accidental encounters are the starting point, and how these interactions naturally develop dictate the nature of Depoorter’s work. Many of her self-initiated projects are about intimate situations in families and in peoples' homes. For her graduation project and her first book, Ou Menya (2011), she made three trips to Russia, photographing people in their homes that she met whilst travelling around. The series won the 2009 Magnum Expression Award. Bieke Depoorter made the work for her second book, I am About to Call it a Day (2014) in a similar way whilst hitchhiking and driving around the U.S. However several recent projects have been the result of Depoorter questioning the medium. In As it May Be, she gradually became more aware of her status as an outsider, both culturally and as a photographer. So, in 2017, she revisited Egypt with the first draft of the book, inviting people to write comments directly onto the photographs. In Sète#15, and also Dvalemodus, a short film she co-directed together with Mattias De Craene, she began to see her subjects as actors. Although she portrayed them in their true environments, she tried to project her own story onto the scenes, fictionalizing the realities of her subjects in a way that blurred the lines between their world and hers. In the ongoing project Agata, a project about a young woman Depoorter met at a striptease bar in Paris in October 2017, she explores her interest in collaborative portraiture. It’s an example of Depoorter’s interest in finding people that can work with her in telling a story. These stories are always partially hers, and partially theirs. In her latest project Michael, she investigates the disappearance and life of a man she met on the streets of Portland in 2015. After giving her three suitcases full of scrapbooks, notes and books, everyone lost sight of him. Bieke Depoorter became a nominee member of Magnum Photos in 2012, an associate member in 2014, and a full member in 2016. She is the fourth Belgian member of the agency, after Carl De Keyzer, Martine Franck, Harry Gruyaert... Depoorter has won the Magnum Expression Award, The Larry Sultan Award and the Prix Levallois.Source: Wikipedia For the past six years, Bieke Depoorter has spent countless nights photographing perfect strangers—people that she encounters on the street who are willing to open their homes to Depoorter and her camera. The project began when she was travelling on the Trans-Siberian Railway, in 2008. She didn’t speak the language, so photography became her mode of communication. (She carried a letter that a friend wrote in Russian that explained her intent.) After publishing the work as a book, called Ou Menya, Depoorter headed to the United States, in 2010, where she hitchhiked and drove around the country, creating the collection found in her latest book, I Am About to Call It a Day. The project, both intimate and removed, hinges upon Depoorter’s ability to build trust within a tight timeframe. In many of the photographs, she seems to go unnoticed, capturing the unguarded moments found only in the privacy of one’s own home. “I like the atmosphere of the night,” Depoorter told me. “When people go to sleep, I think it’s most real. No one is looking at them, and they become their true selves.” She told me that her process is intrinsic to the success of her images. “I try to not hope for a picture,” she said. “I am there as a person first, and a photographer second.”Source: The New Yorker
Christopher Felver
Christopher Felver
United States
1946
Christopher Felver (born October 1946) is a photographer and filmmaker who has published several books of photos of public figures, especially those in the arts, most notably those associated with beat literature. He has made numerous films (as director, cinematographer, or producer), including a documentary on Lawrence Ferlinghetti, Ferlinghetti: A Rebirth of Wonder, released in 2013. Christopher Felver has photographed numerous writers, intellectuals and filmmakers such as Charles Bukowski, William Burroughs, Noam Chomsky, Gregory Corso, Clint Eastwood, Lawrence Ferlinghetti, Allen Ginsberg, Dennis Hopper, Oliver Stone, Elizabeth Taylor, Hunter S. Thompson and Kurt Vonnegut. His photography has been exhibited internationally, with solo photographic exhibitions at the Arco d'Alibert, Rome (1987); the Art Institute for the Permian Basin, Odessa, Texas (1987); Torino Fotografia Biennale Internazionale, Turin, Italy (1989); Centre Georges Pompidou, Paris (1994); Roosevelt Study Center, Middelburg, Netherlands (1998); Fahey/Klein Gallery, Los Angeles (2002); the Maine Photographic Workshop (2002); Robert Berman Gallery, Los Angeles (2007); the San Francisco Public Library (2018)[3] and other galleries and museums. His works have also appeared in major group exhibitions, including The Beats: Legacy & Celebration, New York University (1994) and Beatific Soul: Jack Kerouac On The Road, New York Public Library (2007). A collection of his photographs is held by the University of Delaware. Source: Wikipedia Christopher Felver is a cultural documentarian. His distinctive visual signature is a lasting contribution to the legacy of our national cultural community. Felver’s films & photographs reads like a roster of American mid-century avant-garde. Aside from portraits, Christopher Felver has also produced another body of work entitled: Ordered World. About this body of work, curator, James Crump writes, “Mr. Felver celebrates the elemental essences manmade and natural objects that tend to elude observation. Working in a manner not unlike Karl Blossfeldt, Albert Renger-Patzsch and the New Objectivity artists of 1920s and ’30s Germany, Felver asserts his own contemporary vision here. His pictures are informed by Minimalism and the keen, refined observation of a poet unwilling to discard the mundane or topical content that surrounds us but, nevertheless, is overlooked in the quickened pace of our technologically frenzied age. The series, while concerned with monumentalizing and focusing our attention on the ordered and structured surfaces of objects, resists any historical referencing to the hardened gaze of the twentieth century. It asks the viewer to ruminate on the overlooked beauty which surrounds us, the wonderment that unfolds, with careful and refined examination.” In 1994 Felver attended a Connecticut gathering of Native American dancers in ceremonial dress. These 20 photographs capture a traditional gathering of Northeastern tribes in Felver’s direct portrait style. As visiting artist in 1988 & 1989 at the American Academy in Rome, Christopher Felver made over 250 portraits of European artists across the continent. Felver’s 1350 portraits represent American and European cultural icons. In 1984 Christopher Felver traveled as a journalist to Japan, Hong Kong and Beijing documenting the customs and social conditions. Writers Lawrence Ferlingetti, Robert Creeley, David Amram, Amiri Baraka, George Plimpton, David Shapiro, Luc Sante, Lee Ranaldo, William Parker, Douglas Brinkley, Gary Snyder, Lance Henson, Linda Hogan and Simon Ortiz have written introductions for Christopher Felver’s books. Source: chrisfelver.com "With his gravelly voice, Felver would have made a great gumshoe in a mystery serial during the Golden Age of American radio, which ended around 75 years ago. Luckily for us, he did not miss his calling, which is to take portraits of the people who make up the cultural backbone of America — its artists, writers, composers, and musicians — people in the public eye, even if that audience is tiny." "Felver didn’t just take a photograph, as each portrait is accompanied by a short poem or line of poetry written by the subject in his or her own hand. He finds another way to be a witness." "I cannot think of another person who has given us such intimate portraits of Sherman Alexie, Amiri Baraka, Louise Erdrich, Lawrence Ferlinghetti, Allen Ginsberg, Joy Harjo, Eartha Kitt, Jasper Johns, Toni Morrison, Patti Smith, and Anne Waldman. He has made photographic portraits of Native American writers, and of composers and musicians from John Cage and Doc Watson to Mavis Staples and Ozzy Osbourne. He spent a week in Nicaragua in early part of 1984 with Lawrence Ferlinghetti, five years after the 1979 July revolution there. The photographs in Felver’s book, The Late Great Allen Ginsberg (2002), were taken between 1980 and 1997, in which various other people make appearances: Philip Glass, Ray Manzarek, Ed Sanders, Norman Mailer, Robert Frank, and Gary Snyder." "Each of these projects reveals another side of Felver’s capacity to engage with others and the world, as well as to stand aside and let his subjects speak. I cannot think of anyone who has been as devoted as Felver has been to his subjects. Perhaps it is time we find a way to return that devotion." -- John Yau Source: Hyperallergic
Mark Seliger
Mark Seliger
Unites States
1959
Mark Alan Seliger (born May 23, 1959) is an American photographer noted for his portraiture. Seliger was born in Amarillo, Texas, the son of Maurice and Carol Lee. The family moved to Houston in 1964. He attended the High School for the Performing and Visual Arts in Houston, and East Texas State University (now Texas A&M University Commerce). He moved to New York City in 1984. Seliger began working for Rolling Stone in 1987, and served as its chief photographer from 1992 to 2002, and shot more than 100 covers for the magazine. As of 2010, Seliger lives in New York City and works for Conde Nast Publications. He has shot a number of covers for GQ and Vanity Fair. Seliger has also published several books; created a number of CD covers for Burning Spear, Diana Krall, and other bands; and directed short films. The celebrities whose portraits Seliger has made include Susan Sarandon, David Byrne, Matthew Barney, Willie Nelson, Mick Jagger, Keith Richards, Kurt Cobain, Lenny Kravitz, Rob Thomas, Brand Nubian, and Tony Bennett.Source: Wikipedia Seliger now shoots frequently for Vanity Fair, Italian Vogue, Harper’s Bazaar, Elle, and many other magazines. In addition, he shoots advertising work for Adidas, Anheuser-Busch, Levi’s, McDonald’s, Netflix, Ralph Lauren, Ray-Ban, and many more. Seliger is the recipient of such esteemed awards as the Alfred Eisenstaedt Award, Lucie Award, Clio Grand Prix, Cannes Lions Grand Prix, The One Show, ASME, SPG, and the Texas Medal of Arts Award. Seliger’s work has been exhibited in museums and galleries around the world. His photographs are part of the permanent collection of the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., the Museum of Fine Arts in Houston, and the National Portrait Gallery in London.Source: www.markseliger.com
El Lissitzky
El Lissitzky
Russia
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Lazar Markovich Lissitzky, known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, established the Lissitzky Foundation in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.Source: Tate Margarita Tupitsyn included the essays by Ulrich Pohlmann and Mathew Drutt in her book Beyond the Abstract Cabinet (1999). This book was aimed at an audience with an interest in Russian photography and modernism. The essays in this book brought Lissitzky’s work to limelight. The essays mention various aspect of his work. From 1922 to 1925, Lissitzky experimented with photograph collage and photograms. While working on photograms, Lissitzky experimented with photomontage as well. He was able to achieve vibrant compositions using several printing exposures in order to utilize the effects of transparency. These experiments help him in many advertisements he produced starting from 1924 until 1925. Lissitzky was among the first avant-gardists to revive the photogram or cameraless photographic image, combining this technique with experiments in montage to generate fantastic portraits and design proposals. Largely using photography, Lissitzky also rethought the illustrated book as an architectural form, to be tabbed through, unfolded in all directions, and made into a fully three-dimensional object. These many ideas were deployed in the service of artists and arts organizations, as well as, above all, institutions of the Soviet state, on whose behalf Lissitzky was committed to “influencing the human psyche” collectively and in the public realm. He survived the reversals of fortune suffered by so many politically committed artists in the 1930s but had chronically poor health and died of tuberculosis.Source: The Art Institute of Chicago
Markku Lahdesmaki
Markku Lahdesmaki
United States/Finland
I was born in Finland and began taking photographs at the age of eight, after receiving a black-and-white film camera from my uncle. In my teenage years, I played guitar in a band, and ever since, music and photography have shared equal importance in my life. Over time, photography took the lead, as I realized that music didn’t just accompany my work, it inspired it. My aim is to create images that tell a story and entertain, often with a touch of peculiar humor. Most of my ideas are rooted in values I want to share: the joy of life, peace of mind, a sense of humor, and appreciation for our existence - the simple, essential things we too often take for granted.
Dana Stirling
Dana Stirling
Israel
1989
Dana Stirling is a fine art photographer and the Co-Founder & Editor of Float Photo Magazine since 2014. She is currently based in Queens, New York. She earned her MFA in Photography, Video, and Related Media from The School Of Visual Arts in 2016, following her earlier BA in Photographic Communications from Hadassah College Jerusalem. Dana Stirling's work has been prominently featured in group exhibitions in the United States and internationally, including reputable venues such as Panop-ticon Gallery and Saatchi Gallery. Her photography has gained recognition in various publications, including Buzzfeed, Feature Shoot, Der Grief Magazine and others. why am i sad In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness - using the camera to explore the essence of who I am and my connection to the art of photography. My roots lie in a small town. Within this space, I grappled with a pervasive sense of loneliness that transcended both the physical boundaries and the emotional confines of my surroundings. Even in the company of others, I felt a profound solitude that echoed within and beyond those walls. Home, rather than a sanctuary, was a place where the weight of stress, anxiety, and extensive sadness loomed. Family, instead of offering solace, became a source of inner turmoil. Unspoken but deeply felt, my mother's battle with clinical depression cast a shadow over me. I saw her lose more and more of herself, becoming less and less a person I understood. In my youth, I perceived her sadness as a natural extension of my own sadness, failing to grasp the impact it would have on my journey toward understanding and confronting my own struggles with depression as I grow older. Photography emerged as my lifeline during these moments of isolation. Equipped with my camera, I found solace in the quietude of my room, capturing the silent narratives of everyday objects that became vessels for the unspoken language of my inner dialogue. Photography, in essence, became my personal code, a means of externalizing the words I couldn't articulate verbally. In the silent dialogue with still life, I discovered a form of communication that transcended the limitations of human interaction. Objects, devoid of judgment, spoke the untold stories, becoming my voice in a world where words often fell short. Despite physically distancing myself from the room that once encapsulated my struggles, the weight of sadness remains a constant companion. Photography, once a means of escape, has transformed into a burden, shaping both my emotional state and the aesthetic of my images. The absence of photography leaves me despondent, while the act of capturing images reflects the pervasive cloud of sadness that hovers above me. 'Why Am I Sad' stands as a pivotal exploration, a journey into the intricate relationship between myself and the art of photography, viewed through the lens of my camera. It is an open-ended question, not posed with the expectation of a definitive answer, but rather as a beacon of hope—an invitation to rediscover comfort within the very medium that has been both a refuge and a challenge. My work is an exploration of the interplay between personal struggles and the transformative power of artistic expression. Through the lens, I invite viewers to join me in questioning, in reflecting, and in the shared pursuit of finding solace and meaning within the complex tapestry of existence.
Joshua Irwandi
Joshua Irwandi
Indonesia
1991
Joshua Irwandi (Jakarta, Indonesia) is a freelance documentary photographer based in Jakarta, Indonesia. Irwandi received a B.A. in English literature from the University of Exeter, and pursued graduate studies in photojournalism and documentary photography at London College of Communication. While working in West Papua, Indonesia, Irwandi focused on a long-term project on the changes in identity and landscape of the Asmat people. His project 'Not A Blank Canvas' has been awarded the National Geographic Society exploration grant in 2021. Irwandi was a participant in the 2014 New York Portfolio Review, as well as the Eddie Adams, Magnum Photos, and VII Photo workshops. In 2020, his work is part of the Forhanna Foundation Fund for Young Talent grant and National Geographic Society's COVID-19 Emergency Fund for Journalists project. One of his images, 'The Human Cost of COVID-19', sparked controversy in Indonesia when it went viral after publication by National Geographic. He has exhibited at Breda Photo Festival in the Netherlands. In 2021, he was selected as one of the speakers for the National Geographic Society's Storytellers Summit. Recently, he was nominated for 2021 World Press Photo Award in General News. Irwandi's work has been featured in National Geographic, TIME, The Times of London, and The Guardian.
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AAP Magazine #55 Women
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