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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

Olivia Vivanco
I am a Mexican visual artist. My work explores human movement, focusing on migration from within the migrant experience itself and the traces it leaves behind. I draw on anthropological tools to approach migration as a social phenomenon. Photography has always been my starting point, which I expand by incorporating other audiovisual languages. I have exhibited my work at Museo Carrillo Gil, Museo Universitario del Chopo, Centro de la Imagen, Centro Cultural de España, and Alianza Francesa de México, among others, as well as internationally in Colombia, Chile, Denmark, France, Germany, Morocco, Puerto Rico, Spain, and the United States. In 2019, I was a beneficiary of the FONCA Artistic Residence grant. In 2017, I was selected for the exhibition “The Great Machine IV” at Embarrat, Festival of Contemporary Creation in Spain; for “Caledoscopio steady-cam,” presented at the 1st International Week of Video Creation in Lanzarote; and for the “3rd Contemporary Photography Competition in Mexico.” In 2016, I was selected for the “XII Femsa Biennial” and the “2nd National Biennial of Landscape.” In 2013, I was awarded First Place in the “19th Latin American Documentary Photography Contest” in Colombia and Third Place in the “XXXII ENAH Anthropological Photography Contest.” In 2010, I received the FONCA grant for the promotion of projects and cultural co-investment for the publication of the book Guadalupe. Other recognitions include the selection of my short film Isalia at the festivals “Pantalla de Cristal” and “Mujeres en el Cine y la Televisión” (2009), and First Place in the “Photographic Report Contest Stories of Mexican Women,” organized by the UN High Commissioner for Human Rights in Mexico. My work is part of the artist’s book collection of the Alumnos Foundation, the documentary video archive of Curtadoc in Brazil, and the Benetton Collection. Passing Through Passing Through emerges from a reflection on how to represent the migrant experience without resorting to images that may expose, stigmatize, or oversimplify those living through displacement. Through journeys along migratory routes, shelters, and transitional spaces across Mexico, the project focuses on the traces, objects, and territories that bear witness to these experiences. I am interested in observing roads, refuges, and abandoned belongings as marks of presence, memory, and resilience—objects that function as deferred portraits, capable of speaking about those who were there without directly exposing their identities. Rather than solely documenting a humanitarian crisis, Passing Through seeks to create forms of representation that remain sensitive to the dignity of migrants, avoiding criminalization and stereotypical portrayals. The photographed spaces—rooms, dining halls, pathways, railway tracks—appear as temporary scenarios marked by waiting, uncertainty, and constant mobility. My practice combines observation, listening, and accompaniment, understanding that these territories are shaped not only by violence, but also by strategies of survival, solidarity, and hope. This project proposes a gaze that shifts attention from the face to the trace, from spectacularized events to the memory embedded in objects and spaces, constructing a visual narrative that seeks to foster awareness of the migrant experience from an ethical, critical, and deeply human perspective.
Tommaso Rada
Tommaso Rada is an Italian photographer currently living in São Paulo, Brasil. Tommaso Rada is a documentary photographer working on socio-economic issues. His projects describing the surrounding society are aims more to create questions than to looking for answers. His works has been published in several magazines and newspapers such as Financial Time, Der Spiegel, Monocle, Popoli, Popoli e Missioni, Private online edition, Expresso, Helsingin Sanomat, Courrier International, Le Pelerin, Washington Post and Forbes Brazil. He collaborated with Unicef Mozambique, Comunità di Sant'Egidio and Habitat for Humanity Portugal. About Domestic Borders Since the creation of the European Union (EU) one of the goal has been the unification of the different countries belonging to the EU and the abolishment of the frontiers between these countries. The Schengen treaty stipulated in 1985 have had the aims to gradually create an EU without borders, later in 1990 with the Schengen Agreement finally eliminate the borders between European countries allowing the free movement of people across the several European countries and the abolition of internal border controls. In the last decade separatist movements grow up all across Europe, the economical differences between the European countries increased, the foreign politics aren't common for all the countries, in a period in witch Europe should consolidate his union new obstacles and challenges appear. The domestic borders of Europe, now - after the Schengen Treaty and with the European unification - are gone. Just mountains, rivers and imaginary historical lines, are what have left: a liquid frontier between apparently distinct countries. The rivers, the mountains, the history trapped in the places define the communities, the interaction and the contacts between the people of two neighbouring countries, where the territory and the communities shape reciprocally around a specific space - physical, human and cultural - that get dissolved in the same rivers, mountain places that divide them. Empty of its political value, from a strange limbo made of controls and checkpoints the domestic borders become just a line on a map. The emptiness of the frontier, that have should fill of new life and new dynamics after the unification, get reflected in the territory, the time get stopped and while the world around is changing, on the border the space is assuming a proper physiognomy, and the time is sometimes frozen. "Domestic Borders" becomes a route where each photos is a stop on the way, not searching for answer but interrogating the social reality, the relations between habitants and the territory and the meaning of Europe today. "Domestic Borders" ends up being an unusual and unexpected trip, a dystopian portrait of the relationships between and across the border, showing the challenges of living in an unique space with a different passage of time.
Klaus Lenzen
Germany
1953
Marina Lauar
Brazil
1993
Marina Lauar is a Brazilian visual artist. She develops her artwork in Fine Art Photography, where she uses a pictorial language to construct of her narratives. As a plural artist she appropriates elements that expand formal photography and allow the mix of printed photography with other gestures and techniques. She finds in the portrait an appropriate field for her discussions and critical reflection, which she builds through minimalist and potent images. Her research currently circulates between the deconstruction of already rooted stereotypes and her own self-perception. About Plastic Portraits The project was born during my renaissance as an artist. After some time feeling completely blocked, hands, feet, head, and heart tied, I found myself in a huge need to express my concerns through photography. Fine Art Photography is a fertile field that allows the cultivation of reflections and dialogues, so I chose it as language, to be the home of my yearnings. I create portraits aiming to deconstruct beliefs, sometimes using satire, sometimes critical reflections and their depths, sometimes pure intimacy, things that will never be said. The atmosphere is reaffirmed by the way I work with the light. I seek minimalism so that only a key element fulfils its role as a critical factor in the image. My principal goal with this project is to traverse. Conceive feelings, make the feeling palpable. Build next to portrayed the script that will guide us in the production of the pictures, in the choice of the element, so that everything there in that image has great strength and meaning to the portrayed. To emanate with my eyes feelings that overflow in the other.
Benjamin Dimmitt
United States
Benjamin Dimmitt photographs wetlands and forests using film and a medium format camera. He uses his camera to investigate interdependence, competition, survival and mortality in the natural world. Benjamin was born and raised on the Gulf Coast of Florida. He graduated from Eckerd College in St. Petersburg, FL and also studied at the International Center of Photography in NYC, NY, Santa Fe Photographic Workshop in Santa Fe, NM, Santa Reparata Graphic Arts Centre in Florence, Italy and City and Guild Arts School in London, England. He moved to New York City after college and held an adjunct professor position at the International Center of Photography from 2001-2013. He now lives and works in Asheville, NC and teaches workshops throughout the Southeast. Benjamin's photographs have been exhibited at Museum of Fine Arts, Houston, TX, School of International Center of Photography, NYC, NY, American Academy of Arts & Letters, NYC, NY, Ogden Museum of Southern Art, New Orleans, LA, Griffin Museum, Boston, MA, Florida Museum of Photographic Arts, Tampa, FL, Center for Fine Art Photography, Ft. Collins, CO and Midtown Y Photography Gallery, NYC, NY. In November, 2019, his work will be included in a three person climate change exhibit at Southeast Museum of Photography in Daytona Beach, FL. His work is represented by Clayton Galleries in Tampa, FL and is in the collection of the Museum of Fine Arts, Houston, the American Academy of Arts and Letters, the Florida Museum of Photographic Arts and Eckerd College among many others. Ain't Bad, Architectural Digest, Black & White, Don't Take Pictures, Lenscratch, Oxford American, Orion, Photo District News, The New Yorker Photo Booth and others have featured Benjamin's photographs. He was a finalist in Photolucida's Critical Mass Award in 2014, 2017 and 2018 and in New Orleans Photo Alliance's Clarence John Laughlin Award in 2014 and 2015. An Unflinching Look The Chassahowitzka National Wildlife Refuge is a very fragile, spring-fed estuary on Florida's Gulf Coast, north of Tampa. I was overwhelmed by its lush, primeval beauty on my first visit over 30 years ago and have photographed there extensively since 2004. The dense palm hammocks and hardwood forests were festooned with ferns and orchids and the fresh water creeks were a clear azure. There are other similar estuaries nearby but the Chassahowitzka River and the surrounding wetlands are protected as part of the federal National Wildlife Refuge system and the river itself is designated as an Outstanding Florida Water. Unfortunately, saltwater began creeping up into the spring creeks around 2011. Rising sea levels due to climate change are the primary cause. However, the saltwater intrusion was accelerated when the state water commissioners, appointed by climate change denier and former governor Rick Scott, determined that the wetlands could survive with less fresh water. This new minimum flow policy would allow the state to increase the pumping of fresh water for large-scale inland developments and agricultural interests. The drawdown of fresh water for these lobbyists has taken fresh water away from the aquifer that feeds Chassahowitzka's springs and many others nearby. As the fresh water flow in the estuaries decreased, saltwater advanced upstream and took its place. What had been verdant, semi-tropical forest is now mostly an open plain of grasses relieved by palms and dying hardwood trees. Sabal palms are the most salt tolerant trees in this ecosystem and are the last to expire. This is a widespread phenomenon, occurring all along the Big Bend section of the Gulf coast of Florida. In 2014, I began to photograph in the salt-damaged sawgrass savannas and spring creeks there as a way of reckoning with the ecosystem loss and of understanding what has become of my native Florida. I have narrowed my focus to a small, remote area that I know and love. My intention in bearing witness to this loss has been to portray the ruined landscape with respect, nuance and beauty. To document the progress of the saltwater intrusion, I have re-photographed landscapes that I first photographed as much as 30 years ago. This ruin is the fate of estuaries around the world as sea levels rise. With increasingly fierce storms and extensive flooding along coastal areas, we are reminded that climate change is a certainty and a priority.
Teri Figliuzzi
United States
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