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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Sumit Gupta
Sumit Gupta
Sumit Gupta

Sumit Gupta

Country: India
Birth: 1983

While a software engineer by profession, Sumit has been capturing and sharing the stories of cities and cultures since 2013.

He finds the experience of walking around the city streets with a camera almost therapeutic and meditative. Inspired by the human condition, Sumit has photographed mostly in India and Europe.

Sumit's photographs are inspired by a personal desire to find meaning in the world around us and attempt to draw attention to the poetic and inspirational nature of human life all around us.

All about the project 'The River'

The Kumbh Mela is the largest religious gathering of humans on our planet. Over the two month period that this festival happens, once every 12 years in 4 Indian cities, millions of people come from all over the country (and outside of it) to take an auspicious bath in the holy waters of the river Ganga.

I'm interested in portraying how the contemporary experience of the Kumbh Mela is influenced by aspects such as globalization, consumption and current trends of social behavior. People from all over India come to this event as a pilgrimage to wash away their sins, but they're also cohabiting with people that see this as a cultural attraction, as a possibility to experience a foreign culture and filter it through social media.

What's the impact of hyper-communication and advertising in the collective atmosphere of this spiritual gathering? The project tries to reflect on those ideas by working through the psychological climate of the different people that are present in the event.

The images evidence the paradoxical and complex nature of a spiritual event that feeds on tradition when young people seem to drift away from old collective habits.

The river, the sacred area where people transcend their humanity, is the perfect metaphor for the current situation; affected by mass production and consumerism, the polluted river is still worshipped as a place for cleansing; time will tell if the memory that holds this identity will keep flowing through the divine water, or if it will drown to the mirage of pleasures that float in the immediacy of today's world.
 

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More Great Photographers To Discover

Gabriel Isak
Sweden
1990
Gabriel Isak was born in 1990 in Huskvarna, Sweden. In 2016, he received his Bachelor of Fine Arts Degree in Photography at Academy of Art University in San Francisco, California. Isak has exhibited his work at solo exhibitions at The Cannery Gallery, San Francisco, California and his works have been included in various important exhibitions including "Acclimatize" at Museum of Modern Art, Stockholm, Sweden and "Culture Pop" at M Contemporary, Sydney, Australia. Isak lives and works in Stockholm, Sweden, from where he travels all around the world for personal and commissioned projects. Artist Statement Gabriel Isak's art entails surreal and melancholic scenes where he invites the viewer to interact with the inner world of solitary figures that symbolize our own unconscious states. He uses photography as a medium to draw and paint surreal images, minimal and graphic in its aesthetic, rich in symbolism and emotion, focusing on themes inspired by human psychology, dreams and romanticism, as well as his own experiences, especially the years he went through depression. Isak's work is a serene and melancholic meditation that stills the chaos of life and transforms into an introspective journey that questions the depths of existence. The objective of Gabriel Isak's art is to shine a light on the experiences of being and the states of mind those brings along. His subjects are anonymous, imprisoned in monochromatic settings, so the viewer can envision oneself as the subject, reflecting back on one's own experiences and journey in life.
Vicky Stromee
United States
1950
How I got interested in photography I was immersed in the arts from an early age. My father was an amateur photographer and my mother a painter and pianist. At 8, I got my first Brownie camera and began shooting everything I saw. Watching an image magically emerge from the developing tray in my dad's darkroom; spending afternoons lying under the baby grand piano with waves of sound resonating around and through me; texture, pattern, fluidity, and change - these were my earliest influences, and they continue to unfold in my work. Where I live and my work can be seen I am fortunate to call the Southwest - a place of incredible natural beauty - my home. I have lived in Tucson, AZ since 1975 when I moved here to pursue a master’s degree in Counseling at the University of Arizona. When I retired from a long career in mental health, I turned my attention full time to photography, ultimately finding my niche in photographing natural subjects. More recently I have begun to create photomontages incorporating these natural objects into both abstract images and scenes of imaginary realism. My work hangs in galleries, hospitals, and private and corporate collections throughout the US. It has been featured at the Griffin Museum of Photography, Boston; Waxlander Gallery, Santa Fe; PhotoPlace Gallery, Vermont; A Smith Gallery, Texas; Fotonostrum, Barcelona; and Afterimage Gallery in Dallas. Selected images have representation through Cynthia Byrnes Contemporary Art in New York. What captures my imagination and what I explore in my art I am interested in edges and intersections of transformation where one thing moves inexorably to become something else. When is the moment when love fades into anger and resentment; when disillusionment erupts into a violent uprising, when order descends into chaos? And when is the moment when war turns towards peace; unbearable grief shifts towards acceptance; or when pain gives way to relief? I feel the daily bombardment of stories about conflict and anger towards “otherness.” I’m disturbed by the disintegration of public discourse that has devolved into shouting tropes at one another and refusing to entertain differing points of view while using violence to subjugate and silence others. The cacophony of misinformation drives me into further retreat. I’ve always felt a kinship with Buddhist thought and the concept of nonduality - the belief that there is only one reality that is the summation of all experience. That there is no separation between subject and object; inner self and outer experience; self and other. We are drops in the ocean, interconnected manifestations of spirit. When I am engaged in the act of creation – no longer focused on trying to create, but simply being a conduit – time disappears. I’m following an intuitive process to listen for what comes next. The external chatter recedes, I feel a sense of calm, I feel connected to a deeper flow. Touching into these moments provides a respite and allows me to re-engage in the world with all its seemingly unresolvable conundrums. I make art as much for myself as for others; creating visual meditations is an end in and of itself.
Nanna Heitmann
Germany/ Russia
Nanna Heitmann is a German/ Russian documentary photographer, based between Russia and Germany. Her work has been published by TIME Magazine, M Le Magazine du Monde, De Volkskrant, Stern Magazine and she has worked on assignments for outlets including The New York Times, TIME Magazine, The Washington Post and Stern Magazine. She has received awards that include the Leica Oscar Barnack Newcomer Award, the Ian Parry Award of Achievement. Nanna Heitmann joined Magnum as a nominee in 2019. Hiding from Baba Yaga "Vasilisa was running faster than she had ever run before. Soon she could hear the witch, Baba Yaga's mortar bumping on the ground behind her. Desperately, she remembered the thin black cat's words and threw the towel behind her on the ground. The towel grew bigger and bigger, and wetter and wetter, and soon a deep, broad river stood between the little girl and Baba Yaga. Vasilisa threw the comb behind her, and the comb grew bigger and bigger, and its teeth sprouted up into a thick forest, so thick that not even Baba Yaga could force her way through. And Baba Yaga the witch, the bony-legged one, gnashing her teeth and screaming with rage and disappointment, finally turned round and drove away back to her little hut on hen's legs." From time immemorial people have sought protection and freedom on the banks of the Yenisei and the adjacent wild taiga. For a long time, the banks of the Yenisei have been pervaded by nomadic peoples. The Russians, coming from the west, chased by the greed for valuable fur, did not reach the river until 1607. Criminals, escaped serfs, apostates or simply adventurers, joined together in wild rider associations and expanded ever deeper into the vast wild Taiga. The life of the settlers in Siberia was free and self-determined for the time. Old believers settled on lonely banks of the Yenisei to escape the persecution of the Tsar and later the Soviets. With Stalin the Yenisei became a place of exile and forced labor. The Soviets not only chained the native peoples, but also the Yenisei. With two giant dams they created lakes of almost 400km length. Villages sank in the water, the climate changed. A dense fog swept over the river. The USSR is history. Today, most people are drawn to big cities like Moscow or St Petersburg. Therefore the Yenisei turns more and more into a space for dreamers and loners to escape the worldly world. Not far from the banks of the Yenisei lives Yuri, who has built a small hut on a landfill. Here he can find food for his 15 former street dogs, here he lives freely. Nothing keeps him in the city, where thick coal dust covers the white snow in winter. "All my friends are in the cemetery. Drugs or alcohol." Following the stream of the Yenisei north one encounters Valentin. An self claimed anarch ecologist - a former officer, traumatized by war missions. Today he lives on his small property in the forest. Even at minus 50 degrees, he sleeps outside by the fire. From endless wars he has enough. "All the people of this world, live together in peace and protect your forests." Only to those who threaten the Siberian forests he declares war. "We have a wonderful forest. How many tress grow here. But we need more forests to breathe. Humanity destroyed our forests. These must be revived immediately. " Not far from the source of the Yenisei, Vaselisa lives in the village of Old Believers. Her parents are both deaf and the only heathens in a village that lives strictly to century-old rituals. She doesn't like the children in her village. Her only friend lives in the village of Sissim. While summer holidays the Yenisei and a walk separates them from each other. Encountering all this different people, there is a bond which connects them with each other. The seek of freedom, protection, imprisonment and isolation. The Yenisei and its woods become a metaphor of a dreamscape: Loneliness, unfulfilled dreams, death, abandoned hopes shape people as much as the vast nature, which at the same time gives so much freedom and places of retreat.
Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
Margaret Watkins
Canada
1884 | † 1969
Margaret Watkins (1884-1969) was born in Canada. Best known for art and advertising photography executed in New York in the 1920s, Watkins was active in the Clarence White school of photography and a participant in the shift from pictorialism to modernism. Her working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity. Watkins established a studio in Greenwich Village and in 1920 she accepted the position of editor of the annual publication Pictorial Photography in America. Clarence White asked Watkins to join the faculty of his school, where Watkins met other notable photographers, including Alfred Stieglitz and Paul Strand. She worked for Macy's department stores and for the J. Walter Thompson advertising agency, capturing simple domestic objects with a clarity of modernist vision rare in commercial photography at the time. Her landscapes, portraits, nudes, still lifes, and abstractions received praise and attracted controversy. Exhibitions were held in the United States and in Europe. In 1928, Watkins decided to visit her four elderly aunts in Glasgow, Scotland. She traveled throughout Europe, photographing extensively and producing a body of work documenting post-revolution Russia. Her aunts began to take ill, and Watkins remained in Glasgow to help care for them. She drifted from the spotlight of public recognition, and few photographs or negatives exist from this time. Watkins lived in Scotland in seclusion until her death in 1969.
Alexis Pichot
France
1980
In 2011, I made the bold decision to redirect my professional life into my self-guided passion, photography. I worked as an interior designer in Paris for more than ten years. Throughout that time I was very focused on the use of space and acquired a sensitivity that has greatly influenced my approach to volume in photography. At night, light and space are my sources of inspiration, experimentation and confrontation - but above all, of fulfilment. I pierce the night using physical movement, as well as using light in order to see beyond what is visible, to a place where the blackness has not yet absorbed everything. I have accomplished various large-scale artistic projects, often in partnership with private and public institutions. Notably, my project with the Hotel National des Invalides - which granted me access to all of the military sites in Ile de France - enabled me to bring to light this fragment of history in a large exposition in the moat of the Invalides. I also had the opportunity to work with the RATP, who commissioned me to enter a disused marshalling yard where their entire collection of rolling stock is preserved, covering 100 years of history. The images created were exhibited during "Les Journées du Patrimoine" (the Heritage Days) within their workshop-museum. The cities and their nocturnal vestiges have been sacred fields of investigation for me, as much for their architectural lines as for the histories to which they bear witness. Arising from an awareness of and sensitivity to modern society - alongside the fact that I live in a city - nature has become my source of regeneration.
Hiroji Kubota
Japan
1939
Hiroji Kubota (born 2 August 1939) is a Japanese photographer, a member of Magnum Photos who has specialized in photographing the far east. Born in Kanda (Tokyo), Kubota studied politics at Waseda University, graduating in 1962. In 1961 he met the Magnum photographers René Burri, Elliott Erwitt, and Burt Glinn. He then studied journalism and international politics at the University of Chicago, and became an assistant to Erwitt and Cornell Capa, in 1965, a freelance photographer. Kubota photographed the 1968 US presidential election and then Ryūkyū islands before their return to Japan in 1972. He then photographed Saigon in 1975, North Korea in 1978, and China in 1979–85, and the USA in 1988–92, resulting in books and exhibitions. Kubota won the Mainichi Art Prize in 1980,[2] and the Annual Award of the Photographic Society of Japan in 1981. Three of his publications won him the first Kodansha Publishing Culture Award in 1970: "Black People", and essays on Calcutta and the Ryūkyū islands.Source: Wikipedia Hiroji Kubota sounds a little over-the-top when he insists his "life is meaningless" without photography. But a glance at his latest and 19th book will convince you he is absolutely right, given how his life has been intertwined with some of Magnum's legendary photographers, like René Burri, Burt Glinn and my father, Elliott Erwitt. He started out working with some of them as a fixer and translator, even though he refused payment at first. "I was brought up comfortably and didn't need it," he said. He did, however, accept a beat-up Leica M3 from Burri. His life changed when he got the first edition of Henri Cartier-Bresson's The Decisive Moment a month later. "When I opened it, I said, 'My gosh, what is this?" he recalled. "That motivated me. That's when I became serious." His fate was sealed when Burri showed him a Swiss magazine that featured his Gaucho pictures. "It shocked me like crazy," he said. "I knew then I wanted to be a photographer." The results of those personally decisive moments are evident in Aperture's Hiroji Kubota Photographer a retrospective covering 50 years of his work. I met Hiroji almost that long ago, because my father, Elliott Erwitt, sponsored him when he first came to America, even picking him up at the TWA terminal at Kennedy Airport. They had met when Hiroji worked as a fixer on one of my father's early trips to Japan, in 1962, to illustrate Robert Donovan's book PT 109, about John F. Kennedy's World War II exploits. Hiroji was my father's translator when he photographed the captain and crew of the destroyer that famously cut Kennedy's boat in two. That kind of work led to his meeting other influential photographers who would encourage him, eventually bringing him to New York, where he became a familiar figure at the Magnum offices. Back then, the agency was a small, international and slightly dysfunctional family that was accessible if you met the right people, which he did. Cornell Capa, a Magnum photographer, "adopted me literally, not legally," he said. "He had no children, so he needed a son, a fairly well-behaved son who could cook for him." Capa, who entertained "big shots" at his Fifth Avenue apartment, helped Hiroji make a few extra dollars by having him cook. Burt Glinn also hired Hiroji as an assistant to help him get by. Hiroji showed similar ingenuity when he spent the better part of a year photographing in Chicago, where he ran an ad hoc Japanese catering business every other weekend to help pay the bills. By 1967, he was a successful photographer firmly ensconced at Magnum, and it was time to return to Japan. He has proved to be a remarkably tenacious photographer who immerses himself in a story and returns to it until he is satisfied. He has managed to get to places others can't - like his unlimited access on many trips to China, when travel within the country was still limited. He would talk government officials into allowing him the time and access he needed to achieve his purpose. Same with North Korea; he has made countless visits - at its invitation - at a time when it was essentially a closed country. -- By Misha ErwittSource: The New York Times During a visit by Magnum members to Japan in 1961, Hiroji Kubota came to know René Burri, Burt Glinn and Elliott Erwitt. After graduating in political science from Tokyo’s University of Waseda in 1962, Kubota moved to the US, settling in Chicago, where he continued photographing while supporting himself by working in a Japanese catering business. He became a freelance photographer in 1965, and his first assignment for the UK newspaper The Times was to Jackson Pollock’s grave in East Hampton. In 1968, Kubota returned to live in Japan, where his work was recognized with a Publishing Culture Award from Kodansha in 1970. The next year he became a Magnum associate. Kubota witnessed the fall of Saigon in 1975, refocusing his attention on Asia. It took him several years to get permission to photograph in China. Finally, between 1979 and 1984, Kubota embarked on a 1,000-day tour, during which he made more than 200,000 photographs. The book and exhibit, China, appeared in 1985. Kubota’s awards in Japan include the Nendo Sho (Annual Award) of the Japanese Photographic Society (1982), and the Mainichi Art Prize (1983). He has photographed most of the Asian continent for his book Out of the East, published in 1997, which led to a two-year project, in turn resulting in the book Can We Feed Ourselves? Kubota has had solo shows in Tokyo, Osaka, Beijing, New York, Washington, Rome, London, Vienna, Paris and many other cities. He has just completed Japan, a book on his homeland and the country where he continues to be based.Source: Magnum Photos
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