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Robi Chakraborty
Robi Chakraborty
Robi Chakraborty

Robi Chakraborty

Country: United States/India
Birth: 1959

Originally from India, Robi Chakraborty studied photography under the prestigious O.P. Sharma at Triveni Kala Sangam Photography in New Delhi. He began his career doing both commercial and press photography in the early 1980s, but through wanderlust and with a spirit to explore, Robi became drawn to photographing the people in the cities and villages of his native India. Taking roads less traveled, Robi sought out cultures and ways of life that were quickly becoming lost in the contemporary, more homogenized world of today.

With his knack for finding people and places where tradition survives in the face of modernity, Robi delves below the surface and succinctly and eloquently captures moments in time that wonderfully illustrate the connection forged with the peoples and cultures that he encounters on his journeys. His work tells his subjects' stories in a way that is relatable and invites the viewer directly into their worlds.

Having lived in India, Nepal, Africa and the US, Robi portrays his global view of the world through his photography by celebrating both the diversity of his subjects yet beautifully revealing the striking similarities and capturing the humanity that we can all relate to.

Discover Robi Chakraborty's Interview

Website

www.robichakraborty.com

 

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More Great Photographers To Discover

Jeff Brouws
Jeff Brouws
United States
1955
Jeff Brouws, born in San Francisco in 1955, is a self-taught artist. Pursuing photography since age 13, where he roamed the railroad and industrial corridors of the South Bay Peninsula, Brouws has compiled a visual survey of America's evolving rural, urban and suburban cultural landscapes. Using single photographs as subtle narratives and compiling typologies to index the nation's character, he revels in the "readymades" found in many of these environments. Influenced by the New Topographic Movement, the artist books of Ed Ruscha (to whom Brouws paid homage with his Twentysix Abandoned Gasoline Stations project in 1992) as well as the writings of cultural geographers like J.B. Jackson, Dolores Hayden, John Stilgoe, Mike Davis and Leo Marx, Brouws has combined anthropological inquiry with a somber aesthetic vision mining the overlooked, the obsolete, and the mundane. Initially engaged with what Walker Evans termed the "historical contemporary" along America's secondary highways beginning in the late 1980s, over the following twenty years Brouws has extended this inquiry into the everyday places occupied by most Americans – the franchised landscapes of strip malls, homogenized housing tracts and fast food chains. Since moving to the Northeast in the late 1990s, Brouws has also investigated inner city areas, abandoned manufacturing sites, and other commercial ruins found in Buffalo, Detroit, Cleveland and Youngstown. His photographs of these discarded spaces—the byproducts of de-industrialization, white flight, disinvestment, and failed urban policy—suggest an underlying disparity throughout a country that purports economic equality and social justice for all. Alongside his photographic practice, for the past thirty years Brouws has researched and written about the historic and aesthetic development of railroad photography in America, authoring and editing numerous books on the subject including The Call of Trains: Railroad Photographs by Jim Shaughnessy, A Passion for Trains: The Railroad Photography of Richard Steinheimer, and his most recent publication (edited with Wendy Burton) Some Vernacular Railroad Photographs. In 2013 Brouws (along with co-editors Wendy Burton and Hermann Zschiegner and authors Phil Taylor and Mark Rawlinson) published Various Small Books: Referencing the Various Small Books by Ed Ruscha (MIT Press). This was a multi-year, collaborative project involving ninety artists from around the world. Honoring Ruscha’s seminal books from the 1960s and 70s like Twentysix Gasoline Stations, VSB went on to become the defacto catalog for the Ed Ruscha: Books & Co exhibition staged at the Gagosian Gallery, New York and the Museum Brandhorst in Munich. Brouws’s photography is represented by The Robert Mann Gallery, The Robert Koch Gallery, The Robert Klein Gallery, and The Craig Krull Gallery. His work is in numerous private and public collections including the Whitney Museum of American Art, Princeton University Art Museum and San Francisco Museum of Modern Art.
Dawoud Bey
Dawoud Bey
United States
1953
Dawoud Bey (born David Edward Smikle; 1953) is an American photographer and educator known for his large-scale art photography and street photography portraits, including American adolescents in relation to their community, and other often marginalized subjects. In 2017, Bey was named a fellow and the recipient of a MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation and is regarded as one of the "most innovative and influential photographers of his generation". Bey is a professor and Distinguished Artist at Columbia College Chicago.] According to The New York Times, "in the seemingly simple gesture of photographing Black subjects in everyday life, [Bey, an African-American,] helped to introduce Blackness in the context of fine art long before it was trendy, or even accepted" Born David Edward Smikle in New York City's Jamaica, Queens neighborhood, he changed his name to Dawoud Bey in the early 1970s. Bey graduated from Benjamin N. Cardozo High School. He studied at the School of Visual Arts in New York from 1977 to 1978, and spent the next two years as part of the CETA-funded Cultural Council Foundation Artists Project. In 1990, he graduated with a BFA in Photography from Empire State College, and received his MFA from Yale University School of Art in 1993. Bey didn't receive his first camera until he was 15, and has stated until that point he wanted to become a musician. Early musical inspirations included John Coltrane and early photography inspirations were James Van Der Zee and Roy Decarava. In his youth, Bey joined the Black Panthers Party and sold their newspaper on street corners. He does not consider his work to be traditional documentary. He'll pose subjects, remind them of gestures and sometimes give them accessories. Over the course of his career, Bey has participated in more than 20 artist residencies, which have allowed him to work directly with the adolescent subjects of his most recent work. A product of the 1960s, Bey said both he and his work are products of the attitude, "if you're not part of the solution, you're part of the problem." This philosophy significantly influenced his artistic practice and resulted in a way of working that is both community-focused and collaborative in nature. Bey's earliest photographs, in the style of street photography, evolved into a seminal five-year project documenting the everyday life and people of Harlem in Harlem USA (1975-1979) that was exhibited at the Studio Museum in Harlem in 1979. In 2012, the Art Institute of Chicago mounted the first complete showing of the "Harlem, USA" photographs since that original exhibition, adding several never before printed photographs to the original group of twenty-five vintage prints. The complete group of photographs were acquired at that time by the AIC. During the 1980s, Bey collaborated with the artist David Hammons, documenting the latter's performance pieces - Bliz-aard Ball Sale and Pissed Off. Over time Bey proves that he develops a bond with his subjects with being more political. The article "Exhibits Challenge Us Not to Look Away Photographers Focus on Pain, Reality in the City" by Carolyn Cohen from the Boston Globe, identifies Bey's work as having a "definite political edge" to it according to Roy DeCarava. He writes more about the aesthetics of Beys work and how it is associated with documentary photography and how his work shows empathy for his subjects. This article also mentions Bey exhibiting his work at the Walker Art Center, where Kelly Jones identifies the strength of his work and his relationship with his subjects once again. Of his work with teenagers Bey has said, "My interest in young people has to do with the fact that they are the arbiters of style in the community; their appearance speaks most strongly of how a community of people defines themselves at a particular historical moment." During a residency at the Addison Gallery of American Art in 1992, Bey began photographing students from a variety of high schools both public and private, in an effort to "reach across lines of presumed differences" among the students and communities. This new direction in his work guided Bey for the next fifteen years, including two additional residencies at the Addison, an ample number of similar projects across the country, and culminated in a major 2007 exhibition and publication of portraits of teenagers organized by Aperture and entitled Class Pictures.] Alongside each of the photographs in Class Pictures, is a personal statement written by each subject. "[Bey] manages to capture all the complicated feelings of being young — the angst, the weight of enormous expectations, the hope for the future - with a single look." Bey's "The Birmingham Project" was inspired, in part, by a 1960s Civil Rights era photograph by Frank Dandridge of 16th Street Baptist Church bombing victim, Sarah Jean Collins. The Project includes a series of diptychs of an older person, alive when the bombing occurred, paired with a child the age of the victims, portraying "an almost unbearable sense of absence and loss." In 2018, his project Night Coming Tenderly, Black, consists of a series of photographs evoking the imagined experience of escaped slaves moving northward along the Underground Railroad. This work involves not portraits but landscapes, portrayed at night through the means a little used silver-gelatin process. The work seeks to evoke both terror and hope in a "land of fugitives". Bey has lived in Chicago, Illinois since 1998. He is a professor of art and Distinguished College Artist at Columbia College Chicago. Source: Wikipedia
Victor Wong
Victor Wong
Hong Kong SAR China
1960
I was born in Hong Kong in 1960. I obtained my medical degree in Hong Kong Medical College. I am now a practising ENT surgeon. I started my interest in photography since 2016. Rooting from some photo interest groups while I gradually found my special attentions in the stories of the nature and human cultures. I focused at one genre each time so that I could refine my techniques and my creative visions more specifically. My aim is to produce a self-satisfying portfolio at different timelines. These include insect photography, minimalistic winter landscapes, human culture in India and recently night sky landscapes. By diversifying my photo interest, I believe I can get the fun in photography and life can be more colourful and challenging with my camera.
Deb Achak
Deb Achak
United States
Raised in New Hampshire, Deb Achak holds a master's degree in social work and is a self-trained photographer and filmmaker. She lives in Seattle, WA with her husband and sons in a grand old home that was once a bed and breakfast. Deb's fine art photography explores natural elements of water and grasses - earth elements with clean, simple compositions meant to calm and soothe. Her children are also a growing subject of her fine art work. Her photographs have been exhibited at the Black Box Gallery, Portland, OR; Sante Fe Photographic Workshops, Sante Fe, NM; the SE Center for Photography, Greenville, SC: and Vermont Center for Photography, Brattleboro, VT. About She Told Us To Trust Our Intuition My mother's last words to my siblings and I before she died were "trust your gut instincts". It's struck me over the years how profound and revolutionary that one simple phrase is. It has become my mantra - my north star. When we still our mind, free it of conscious thought, intuition can be heard and felt, and becomes the perfect guide. Some years ago, I started to notice that when I am in a deep flow with my art, it becomes a meditation and I am able to hear my inner voice with complete clarity. In this series I use water, color, movement and the human form to express the meditative quality I feel when I am in synch with the flow of creating. I seek to capture that single moment where my camera, my intuition, and the natural world are perfectly aligned, and to give gratitude to my mother for bestowing such a powerful parting gift. All the Colors I Am Inside
Thomas Jorion
Thomas Jorion
France
1976
Thomas Jorion (b. 1976, lives in Paris) photographs urban ruins and condemned buildings, spaces that no longer serve the purposes for which they were built. His work explores the built environment in a state of entropy, inviting viewers to reflect on the relationship between the material and the temporal.My work is based on our perception of time, how it passes and especially its lack of linearity. Some places seem frozen as time passes by. While our society is developing and changing very rapidly, these places are submitted to a distorted passing of time. They seem to be lifeless or in a waking state, although in reality they have their own link with time. I travel the world with one idea in mind, to find and show timeless islands. I choose to enter closed and abandoned places formerly alive, and often places of leisure or prestige to capture and share them. My fascination for the esthetic of abandoned places is the extension of an older tradition. The Romantics enjoyed strolling amidst the ruins of long lost civilizations. Centuries earlier, painters such as François de Nomé (1592 – 1623), Giovanni Battista Piranesi (1720-1778) and Hubert Robert (1733 – 1808) dedicated part of their work to these forgotten places. Somehow my photos are part of this process. The existence of timeless islands stems from a variety of contemporary phenomena. Though each of these islands has a particular origin depending on its location, all eventually evoke the disappearance of men. In Japan, the line between leisure and consumption is often blurry. Leisure activities that are deemed old-fashioned are disposed of – similar to those handkerchiefs, the “nuigishi,” given out for free on the streets by pretty young ladies. An example of this occurence (occurrence – deux R) is the three-storied, 108-lane bowling alley in a Tokyo suburb. Being out of use for some time, it soon is to be demolished. The expansion of new forms of leisure activities has also led to a booming hotel industry. Better and cheaper flight connections and the growing mobility of global citizens made the world a village, with every destination easy to reach. The province of Izu, which used to be a popular summer destination for the Japanese, is now competing with international destinations as in China or Korea. Hotel complexes or amusement parks now open for business or shut their gates according to short-lived trends in the tourism industry. In America the consequences of the economic crisis have been more disastrous than anyone could hardly have imagined. In the vast landscape of the United States, the possibility to build on new land is considered limitless. The habit of constructing new buildings instead of renovating old ones has proven rather catastrophic for the country. The dramatic consequences can be seen in cities such as Detroit MI, where the “white flag” phenomenon has made matters even worse. Other cities, such as Memphis, TN, or Bridgeport, CT have followed suit. Those cities’ entire cultural and social identities have decayed into ruin. The first places to have become useless for society were theaters, movie theaters, sport centers, schools and churches. Health care institutions, public housing, and judicial systems suffered, too… The failure of American Utopias, photographed by Joel Sternfeld in the late 70s, was already heralding deeper phenomena observed today. On the old continent, the reasons are multiple and the consequences are often the same. Struck by a major structural transformation from industrial to post-modern societies many countries had to turn away from their heavy industry. Gigantic textile factories in Northern Italy have completely disappeared, even sumptuous villas of industrialists were forsaken and left to decay. Twenty years after the reunification this development can also be seen in Germany, where factories became completely unsuitable for the global economy and whole regions became deserted due to migration. There is no denying that these abandoned places now cover all continents and in the name of the profit motive tends to amplify this phenomenon. As for my photographic practice, I wish to conserve the rawness of the places that I observe. This represents a challenge. The frame must be arranged in accordance with the layout of the space and the available light. For me, this reinforces the immaculate and timeless aspect of the place. My use of a large format camera allows me to make sharp and detailed images that contain a variety of focal points, textures, and depths. Capturing the richness of such pictures takes much time, which in turn reduces the number of photographs I can take. The choice of color film is important because it anchors the place within the present moment and allows for a faithful rendering of things seen. This eliminates the austere quality of certain spaces. For example, in the Piedmont theater, the blue, yellow, and brown are muted and soft colors, but they correspond well together to reveal a new beauty. Source: www.thomasjorion.com
Anna Grevenitis
Anna Grevenitis
France / United States
1974
French-born visual artist Anna Grevenitis found photography in a meandering way: her formative years were filled with the study and teaching of the English language and literature, but when her daughter was born--and a year later her son--her world naturally morphed into full-time mothering. Drawing on the experiences of the domestic to inform her daily practice, she uses her home as a stage and her body and the body of others in her familial sphere as characters to deliver, in her photographs, the essence of what she wants to express about family and the self. For her work, the act of performing is an essential step in image making. Nowadays she divides her time between research and creation, and she is interested in building long term projects in photography as an act of establishing visual memory and engaging in social visibility. Her photographs have been exhibited both in the United States and internationally. Statement REGARD /ʁə.ɡaʁ/ verb 1. To consider or think of (someone or something) in a specified way. When my daughter was born, I was told that she had the “physical markers” for Down syndrome. A few days later, the diagnosis of Trisomy 21 was confirmed with a simple blood test. Today, years later, Luigia is a lively teenager, yet these “markers” have grown with her, and her disability remains visible to the outside world. As we try to go about our ordinary lives in our community--getting ice cream after school, going grocery shopping or walking to the local library--I often catch people staring, gawking, or side-glancing at her, at us. Even though their gaze feels invasive, I perceive it as more questioning than judging, at least most of the time. With this on-going series REGARD, I am opening a window into our reality. To emphasize control over my message, these everyday scenes are meticulously set, lit up; they are staged and posed. The performers are my daughter and me. The double self-portraits are purposefully developed in black and white, for by refusing the decorative and emotionally evocative element of color, I aim to maintain a distance between us and them. The composition of the photographs expresses routine, domestic acts in which I address the viewers directly: look at us bathing; look at us grooming; here we are at bedtime; this is us on a random day at the beach. In each scene, the viewers are plunged into the outside perspective. At first glance, it may seem that I am offering us as vulnerable prey to their judgment, yet in fact I am guarding our lives, and the viewers are caught gawking--my direct gaze at the camera. My series is very basic in its concept: it shows a child, it shows a mother, it shows them living at home, performing familial acts. Because I believe in the connective power offered by the depiction of domesticity, I hope that REGARD helps the audience rethink some of their assumptions about people living with disabilities and with this, I hope my series finds a humble spot within the movement that helps people with disabilities gain visibility.
Tomáš Neuwirth
Tomáš Neuwirth
Czech Republic
1972
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.
Pierre De Vallombreuse
Pierre De Vallombreuse
France
1962
Pierre de Vallombreuse was born in Bayonne in 1962. In twenty-five years of travel to all continents, he made a photographic collection of 41 indigenous peoples, with more than 130,000 photographs, paying tribute to their diversity.In contact with Joseph Kessel, a French author and traveler, de Vallombreuse felt a very early desire to be a witness of his time. In 1984, he entered the École Nationale Supérieure des Arts Décoratifs in Paris with the idea of becoming a cartoonist. A trip to Borneo the next year, though, changed the course of his life. He shared his daily life with the Punans, the last nomads of the jungle. Normally a sedentary artist, de Vallombreuse decided to become a nomadic witness, and photography became his mode of expression. While still a student at the Arts Décoratifs in Paris, he took multiple trips to the Philippine jungle to stay with the Palawan people. In total, he lived with them for over two years. The first part of his work on this tribe was presented at the photographic festival Les Rencontres internationales de la photographie in Arles.De Vallombreuse was Secretary General of the Association of Anthropology and Photography (association Anthropologie et Photographie, Paris Diderot University). Since then, he has regularly collaborated with leading international magazines: GEO (France, Russia, Germany, Spain, South Korea, Japan), Sciences et Avenir, Le Monde 2, Le Figaro Magazine, Newsweek, El Mundo, El País, and La Stampa.About The Origins of Man (Hommes Racines)Encompassing five years of work, this project represents the commitment of a photographer with eleven indigenous peoples spread across the globe. Its main purpose is to show the intimate relationship between man and his environment. De Vallombreuse presented his work as a testament to the diversity of lifestyles, practices, and traditional knowledge that are embedded in very different environments. These cultures are repositories of knowledge essential to the preservation of biodiversity. De Vallombreuse aimed to promote a reflection on humanity sustainable whose corollary is the protection of nature.Whenever linked to a specific people, the project emphasizes the multiplicity of responses to living conditions imposed by nature and history. It is in this context that de Vallombreuse addresses this root concept. By meeting people entrenched in their territory and those who have been subjected to the test of uprooting, de Vallombreuse analyzed changes in life affecting our modernity. He worked to show how indigenous peoples are often the first victims of environmental disasters: food shortages, deforestation, global warming, pollution, and water war, crucial questions that, far from being local concerns, affect our mutual humanity.Since 2007, this project has resulted in 12 exhibitions and numerous publications.Souce WikipediaAbout SouverainesIn the West, feminists fight for equality with men. But elsewhere? In some traditional societies, women have a predominant social and spiritual part to play. There is equality, mutual respect and freedom for both genders. Amongst these people, women are recognized for their uniqueness and their skills.Pierre de Vallombreuse traveled to four South East Asian cultures where women play a crucial part in the family and in governance itself.In the matrilineal and matrilocal tribe of Khasi in the North-East part of India, children are given at birth the name of their mother and the youngest daughter inherits all the land and family properties.In the nonhierarchical tribe Palawan in the Philippines, men and women live in perfect equality, while emphasizing values such as goodwill, generosity and mutual assistance.In the southwestern part of China, status of women is unique in Moso, a population that practices all forms of matriarchy as children's education is entrusted with their maternal uncles.Finally in Malaysia, the Badjao abolish all forms of hierarchy and advocate for an egalitarian and libertarian civilization that is prominently in favor of women.
Bharat Patel
Bharat Patel
United Kingdom
1949
Bharat is an Indian born photographer living in Oxford, UK. At first embracing many genres of photography but since the last ten years he has been mainly involved in travel and documentary photography, some of these in collaboration with NGOs. Underlying influence in his photography is his upbringing in the British colonies and his exposure to different cultures and social structures. He has lived and experienced life in four different continents with vastly different life styles. From a young age his inclination to connect everything has had an influence on his photography. Mixed with this is his formal education as Electronic Engineer which exposed him to world of sub-atomic matter where order and hierarchy exist amongst the chaos, just like his experiences in real life. Bharat considers his work as “Photography for a Purpose”. This can be seen in his long-term project on “Nomadic Tribes of India”, “Brick Workers” and “Women Workers in the Informal Sector”. Always looking to preserve these as documentaries to retain the importance of what is present and that which may inform the future. Bharat uses both black and white and colour images depending on what he wants to portray. Without the distracting colours, his black and white images lay bare the subjects and show their inner selves. In his words everything is waiting to be photographed and to be remembered, it is how you photograph it that counts. Bharat is a member of the Royal Photographic Society.
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Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
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Exclusive Interview with Robert Mack
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All About Photo Awards 2026
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