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Zakaria Wakrim
Zakaria Wakrim
Zakaria Wakrim

Zakaria Wakrim

Country: Morocco
Birth: 1988

Zakaria Wakrim, born in 1988, lives and works between Spain and Morocco. His early photoworks were quite experimental, willing to explore perceptual human boundaries using all sort of experimental means. After being catalogued as one of the "Emerging Artists" in his homeland, he started applying his experimental means to create a deep reflexion around the concepts of Change and Identity. The result consists in layers of visual stories that have a narrative and a conceptual side. His visual research is constant; he believes that the photographic language is organic.

His photo series are willing to occupy the narrative field, stories that give sense to local identity. The fast sense of change that is happening in North Africa blurs the frontiers between the old and the new. The intersection is hard to state as the old is easily forgotten and scavenged by the new. Documenting the sense of change, becomes a way to understand it better, in order to deal with identity as a starting point for culture.
 

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Jaime  Nisenbaum
United States
1959
I am an experimental photographer based in Berkeley, California. The camera has been a faithful companion throughout my life; however, over the past 20 years, my photography slowly began shifting from documenting life to being a more intentional form of self-expression. The wide expanses of the California coast, its rugged terrain, wide vistas, and thunderous waves were my first entry point into that process. Concurrently, I was discovering and getting inspired by Edward Weston, Ansel Adams, Minor White, Ann Brigman, and several other pioneers whose work celebrated and exalted the natural environment. The quiet and intimate botanical images by Imogen Cunningham, the simplicity of Harry Callaham's nature shots, along with the moody atmosphere of the early 20th-century Pictorialists like Edward Steichen, Alfred Stieglitz, and Gertrude Kasebier, have also found their way into how I think and imagine photography. The textural and sculptural properties of natural elements are a main source and inspiration for my photography. I like to think of my images as inhabiting a world between the representational and the abstract, revealing the hidden beauty and simplicity of natural forms while evoking a sense of reverence and wonderment. My photographs have won awards through the Marin County Society of Artists (CA) and Louisville Art Association National Photography Show (CO), and have been exhibited at the A.Smith Gallery (TX), Arts Square Gallery (NY), Black Box Gallery (OR), d’Art Center in Norfolk (VA), Praxis Gallery (MN), Si Gallery in Austin (TX).
Jamie Johnson
United States
1968
Jamie Johnson is a Los Angeles photographer specializing in children and alternative processes. Winner of the Julia Margaret Cameron Portfolio Award and Spider Black and White Photography Award. Her work has been published in many photography magazines and is exhibiting in galleries worldwide. Jamie's work is in the permanent collection of the Hammer Museum in Los Angeles and Archaelogy Museum in Alabama and currently has a show at the Norton Museum of Fine Art in Palm Beach Florida. As a mother and fine art photographer whose bread and butter comes from photography, my passion for faces of the next generation has been a life long focus. I travel the world capturing images children and childhood around the globe. From Laos to Cuba, from the Amazon to India, I have found a universality in the world of children. I have always been particularly interested in observing how girls are raised, examining the morals, values, and education of the next generation of young women. My work has been exhibited Internationally in galleries and museums from New York thru London and Paris, and has been published in dozens of magazines. My Journey with the Irish Travellers I have spent my entire career photographing children all over the world. The last five years I have focused my eyes on the Irish Traveller that live in caravans on the side of the road or in open fields throughout Ireland. The Traveller community are an Irish nomadic indigenous ethnic minority. There is no recorded date as to when Travellers first came to Ireland. This is lost to history but Travellers have been recorded to exist in Ireland as far back as history is recorded. Even with their great history they live as outsiders to society and face unbelievable racism growing up. As a mother of two daughters I became so interested in the culture and traditions and lives of these children. The experience I had photographing the grit and beauty, that is the everyday life of a Traveller child, is one that inspires me everyday. Their deep respect for family and cultural values is refreshing, one that can be quite difficult to find in an age with the convince of social media. Not always immediately accepting of an outsider holding a large camera, I took my time getting to know and understand these faces that represent the new generation. My ever growing fascination with the children of today has lead my all over the world, capturing their innocence or in some cases loss of, in its most raw form. Unlike most children they are unable to refer to a history book to learn about their ancestors, a part of this journey was being able to document an era that is so different to any other I have shot. It is one that is and will always be rapidly changing, everytime I visit it is a whole different world yet with the relationships I have been lucky enough to make, it seems to feel like I never left. I am exponentially grateful the young people documented and that I have come in contact with over my years of visiting are able to call me their friend and I can happily say the same. It is with an honest heart I hope to show that these beautiful children who have great hopes and goals and work everyday to reach their dreams no matter how hard they have to fight racisms and stereotypes placed on them for centuries. A child is an innocent, happy, precious part of the world that should be loved and accepted and encouraged no matter where or how they live. More about The Irish Travellers Order the book
Amira Al-Sharif
Amira Al-Sharif is an award-winning Paris-based Yemeni photographer and artist with two decades of visual storytelling experience. Over the years, she has received numerous awards and fellowships, including from the World Press Photo Foundation, the Magnum Foundation, the Prince Claus Fund, the Arab Fund for Arts and Culture, the Samir Kassir Foundation, Women Photograph, and Free Press Unlimited’s “Most Resilient Journalist Award.” Her work has been published by National Geographic, the Washington Post, the Guardian, the Los Angeles Review of Books, the New York Times, ARTE TV, TV5 Monde, NPR, ICORN, UNICEF, UNHCR, among other outlets and organizations, and she penned a chapter for the best-selling anthology Our Women On the Ground: Essays by Arab Women Reporting from the Arab World (2019). She has also participated in scores of photography exhibitions and festivals in Europe, the MENA region, and across the world, from India to South Korea, and Cambodia to the United States.In 2010, she studied photojournalism and documentary photography at the International Center of Photography in New York, and later returned to her home city of Sana’a, Yemen, to teach visual storytelling to hundreds of aspiring photographers. Since fleeing Yemen in 2018, due to the wartime constraints on her work and life, Amira has completed a two-year-long artist residency at Cité Internationale des Arts and is currently pursuing a Master of Fine Art at the Beaux-Arts de Paris. With her five-year French Talent Passport for artistic and cultural professionals, she has also launched a Paris-based company for her art practice. Artist Statement People often comment that they do not see war in my beautiful pictures of Yemen, where the world’s worst humanitarian crisis continues to cast a tremendous, even inescapable shadow across the landscape. But, since the war began nearly eight years ago, the vast majority of the scenes that I have captured in my beloved motherland have put my life at risk. Even if the outcome looks beautiful — schoolchildren or fishermen smiling in the north, newlyweds or goatherders smiling in the south, women young and old with fighting spirits from north to south — destruction, destitution, and danger often lurk just beyond the frame. War makes my beautiful pictures war pictures. There are an untold number of bloody scenes from Yemen that only exist in my mind. Mental images that I cannot publish in a newspaper or hang on a gallery wall. They are the scenes that I did not want to photograph, to remember more than I already do. For me, just like my sister Hayat, who is also a photographer, flashing back to the stories and scenes that epitomize how ugly the war has been to us, and how much it has scattered us in all directions, is like free-falling into the darkness. We want to be in the light, to move on with our ambitions and dreams. That is why the word “move” has been dominant in my thoughts and speech over the last couple of years. In spite of the challenging conditions and hardships, we need to keep moving. We need to let go of that which imprisons our souls in all of the unfortunate things that have happened and are still happening to us. Sadly, we cannot stop this war. I often ask myself if people who live in peaceful countries and regions could better identify with the beautiful pictures — seeing themselves in us, their lives in ours — rather than the bloody ones that commonly inundate the international media, from Syria at present to Vietnam in the past. As a photographer with over sixteen years of experience on the ground in Yemen, I have come to the realization that the logic of “blood is to war as beauty is to peace” is flawed, incomplete. And the reason my work tends to focus on the beauty of my suffering country is simple, relatable: like people everywhere, regardless of their context of war or peace, Yemenis appreciate love and life. We, too, wish to live our loves and our lives before that unavoidable moment called “death.” -- Amira Al-Sharif About A Love Song to Socotra Island Documentary photography series (2014) Socotra is an isolated Yemeni island, and UNESCO World Heritage site, that lies between the Indian Ocean and the Arabian Sea. Described as “one of the most distinctive places on Earth,” or the “jewel of Arabia,” this special, almost secret, place is where I made A Love Song to Socotra Island, my first long-term documentary photography series. One Socotran woman in particular, Saadiya, lit up my imagination, and so for months at a time, I shadowed her days, just like the birds of the island. When I met Aunt Saadiya, as I affectionately call her, the mother of seven was locked in a near decade-long struggle against local tribesmen who were after her inherited plot of land, which sustains and shelters her family and dozens of animals. “I have a fighting spirit,” she told me one day. “Whatever happens, I am not leaving my land. I fear nobody.” From mountaintop to seaside, I documented Aunt Saadiya’s radiant life force, relatively free from the everyday constraints and fears of the conflict-ravaged mainland. After we rose with the sun, she greeted the birds and the trees, tended to her goat herd, taught her children to swim, and defended her family’s right to survive. In our last months together, a local court declared her “the rightful owner of the land.”
Francis Frith
United Kingdom
1822 | † 1898
Francis Frith was an English photographer of the Middle East and many towns in the United Kingdom. Frith was born in Chesterfield, Derbyshire, attending Quaker schools at Ackworth and Quaker Camp Hill in Birmingham (c. 1828–1838), before he started in the cutlery business. He suffered a nervous breakdown in 1843, recuperating over the next two years. In 1850 he started a photographic studio in Liverpool, known as Frith & Hayward. A successful grocer, and later, printer, Frith fostered an interest in photography, becoming a founding member of the Liverpool Photographic Society in 1853. Frith sold his companies in 1855 in order to dedicate himself entirely to photography. He journeyed to the Middle East on three occasions, the first of which was a trip to Egypt in 1856 with very large cameras (16" x 20"). He used the collodion process, a major technical achievement in hot and dusty conditions. Photographs taken by Frith are held in the Conway Library of Art and Architecture at the Courtauld in London. When he had finished his travels in the Middle East in 1859, he opened the firm of Francis Frith & Co. in Reigate, Surrey, as the world's first specialist photographic publisher. In 1860, he married Mary Ann Rosling (sister of Alfred Rosling, the first treasurer of the Photographic Society) and embarked upon a colossal project—to photograph every town and village in the United Kingdom; in particular, notable historical or interesting sights. Initially he took the photographs himself, but as success came, he hired people to help him and set about establishing his postcard company, a firm that became one of the largest photographic studios in the world. Within a few years, over two thousand shops throughout the United Kingdom were selling his postcards. Many of his photographs were collected into published volumes. Initially these works were compiled by established publishing companies. However, by the 1860s, Firth realized that he could profit from publishing his own images and established the publishing company F. Frith & Co. Frith died at his villa in Cannes, France, on 25 February 1898, aged 75. His family continued the firm, which was finally closed in 1971. Following closure of the business, Bill Jay, one of Britain's first photography historians, identified the archive as being nationally important, and "at risk". Jay managed to persuade McCann-Erikson the London advertising agency to approach their client Rothmans of Pall Mall on 14 December 1971 to purchase the archive to ensure its safety. Rothmans went ahead and acquired the archive within weeks. Frith was re-launched in 1975 as "The Francis Frith Collection" by John Buck, a Rothmans executive, with the intention of making the Frith photographs available to as wide an audience as possible. On 25 August 1977, Buck bought the archive from Rothmans, and has run it as an independent business since that time – trading as The Francis Frith Collection. In 2016 the company completed a two-year project to scan the entire archive and now holds over 330,000 high resolution digital images. The company website enables visitors to browse all 330,000 Frith photographs, depicting some 7,000 cities, towns and villages.Source: Wikipedia Born into a Quaker family in 1822 in Chesterfield, Derbyshire, Francis Frith was a remarkable person, philosophical and devoutly religious by nature and pioneering in outlook. He was a complex and multi-talented man who had a formidable instinct for business. By the time he founded his photographic publishing company in 1860 he had already established a wholesale grocery business in Liverpool which was so successful that by the mid 1850s he was able to sell it for a price which made him a the equivalent of a multi-millionaire today. Frith had been a founder member of the Liverpool Photographic Society in 1853 – only 14 years after the invention of photography, 1839. Between 1856 and 1860, as a gentleman of leisure, he made three pioneering and sometimes dangerous photographic expeditions to the Middle East, taking bulky cameras, equipment and glass plates with him and travelling by boat, donkey, mule and camel. These journeys took him to Egypt, Nubia, Ethiopia, Sinai, Palestine, Lebanon and Syria, and established his reputation as an outstanding pioneer photographer. The photographs he took on these expeditions were marketed by the London firm of Negretti & Zambra as hugely popular stereoscopic views, and were also published in London and New York in limited edition part-works of prints, with sales totalling over £3 million in today’s value.Source: www.francisfrith.com
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