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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

Ted Anderson
United States
I'm a photographer and designer (graphics and exhibitions) living in upstate New York, with a passion for photographing landscapes, interiors, and people. The pared down features in many of these photographs reflect my interest in natural history, and in the passage of time and the remnants of the past in the present. While the photographs were taken in places as diverse as the lakes and beaches in Maine, gardens in England, and the rural hills of central New York state, all of the images reveal my preference for the simplicity and a certain joyfulness that can exist with austerity. Is there a story behind each of these images? Always.Ted Anderson is presented by TBM Photography NetworkTBM Photography Network regularly presents the popular series: "Photographer Spotlight.” In this part of their newsletter and FaceBook page various fellow photographers are interviewed to learn more about what motivates them, what their goals are and what direction they wish to take with their art. In this segment they welcome the talents of photographer Ted Anderson. TBMPN: What best describes your particular style of photography? TA:I am drawn to austerity, simplicity and to capturing beauty in places that might seem lonely to some. I think a lot about the relationship between people and their environments, and sometimes I look for a figure or a remnant of the past in my exterior or interior photographs. I do not put elements together artificially, but try to present images as I find them. Sometimes I allow stories to arise from the moments captured with the camera. TBMPN: What equipment do you regularly use? TA:My main camera of choice is a Nikon D90 with an 18-100mm lens and a 50-200mm lens. When shooting landscapes, I often go with the wide angle settings. I use a small variety of filters that include neutral density and polarizing filters. Any processing is done on a Mac computer, and I work primarily in Photoshop’s Camera Raw and in Silver Efex. TBMPN: Who or what do you consider your major influences? TA:There are many photographers and painters whose work I admire, but right now I’d have to say that the photographs of Brett and Edward Westen, Julia Margaret Cameron and Walker Evans come to mind. I also love the paintings of Andrew Wyeth and Edward Hopper. Visually I am also inspired through music and words that include songs by Bill Callahan, novels by Marilynne Robinson, and the poems by W.S. Merwin. TBMPN: Why did you choose photography as your method of expression? TA:As a kid I loved to draw, and I’ve also composed songs on the guitar for years. Photography, however, is what brings to me the greatest level of creative satisfaction and that sense of connection to others. Just about anyone can take a photograph, but to create an image that might move another person emotionally or intellectually is a challenge that I enjoy. TBMPN: What do you wish to accomplish with your photography? TA:I wish to continue expressing myself both artistically and emotionally and to keep creating images with which people can connect. I recently heard from an old friend, someone I haven’t seen in years, who had requested a print that she’d seen online. That sort of thing does not happen every day, and when it does, it’s quite wonderful. TBMPN: What are your current projects? TA:This past year I have been photographing more portraits, and I’m in the process of setting up a few more portrait sessions. I will be having a solo exhibition in 2016 at the Fenimore Art Museum in Cooperstown, New York. This exhibition will include landscape and interior images from New York State as well as portraits. In the meantime I am always thinking about new locations to explore. TBMPN: What are your plans for future projects? TA:I’d like to see my photography business expand a bit over the next couple of years. I would like also to take on more portrait and interior photography projects. This next July (2014) I will be in England for two weeks and will have an opportunity for some informal wedding shots in the countryside. I’ll also have the chance to do some street photography in London. I can’t wait!
Lisa Kristine
United States
1965
Acclaimed humanitarian photographer Lisa Kristine specializes in images of remote indigenous peoples. Best known for her evocative and saturated use of color, her fine art prints are among the most sought after and collected in the world. Lisa has documented in over 100 countries on six continents, using a 19th century 4×5” field view camera for the majority of her work. Lisa Kristine was born in San Francisco, California, on September 2, 1965. She developed an early interest in anthropology and photography. Lisa was mentored in her youth in Silver Gelatin and Cibachrome printing. Following graduation from the Fashion Institute of Design and Merchandising in San Francisco, Lisa photographed for nearly five years in Europe and Asia. Lisa has collaborated with international humanitarian organizations. When the State of the World Forum convened in San Francisco in 1999 and in New York in 2000, Lisa was asked to present her work to help inspire discussions on human rights, social change, and global security. Her work was auctioned by Christie’s New York to benefit the United Nations with Kofi Annan. She was also honored to be the sole exhibitor at the 2009 Vancouver Peace Summit with His Holiness the Dalai Lama, Reverend Tutu and award winning Nobel Laureates. In 2010 Lisa collaborated with Free the Slaves documenting modern-day slavery. She traveled into the heart of broiling brick kilns, down rickety mine shafts, and into hidden lairs of sex slavery. She bore witness to the most horrific abuses imaginable and the astonishing glimpses of the indomitable human spirit. A groundbreaking photographic book entitled Slavery in which Archbishop Desmond Tutu wrote the foreword was released in the fall of 2010. The sales of the book will help to end slavery. John C. Sweeney, Director of the United Nations, says of her work, “Lisa Kristine’s sensitive and beautiful portrayal of isolated and distant peoples helps us to better appreciate the diversity of the world. She captures the sheer beauty of the differences in people and places and allows us to comprehend the shared nature of the human condition: its hope, its joy and its complexity.” Her work is made distinctive by her passion and intuition and her intense interest in the humanity of her subjects. “I want a person to feel at ease with me, so that they remain who they are and are unchanged by a new, foreign element such as a stranger (myself) or a camera. In order for me to photograph a person in this unaffected environment of ‘self,’ there must be a firm trust between us. Without this, one might still create a beautiful image, but not a stirring one. I’m drawn to people who have been living closer to the earth, and who have very old traditions. People who have not, in any way, been altered by modernity.” “The saturation of color opens our eyes to those who are living in ways very different from our own,” says Paul Oppenheimer, a highly regarded philosopher and teacher. “Lisa invites each of us as humans to look into the eyes of those whom we cannot understand—in a setting that does not diminish our differences. In those differences, we find the roots of our unity.” The images, both inspiring and evocative, draw a connection between the viewer and the subject. Lisa Kristine’s art is her personal statement about the connection of humanity, and about the diversity, beauty, and hardship of our world. Published in 2003, Lisa’s limited edition hardcover monograph A Human Thread of 120 photographs sold out within a year. The accompanying short documentary film, A Human Thread, explores the process behind the photographs and includes interviews with Kristine as well as footage of her on location. Following on the success of her first book, Kristine published This Moment in 2007. This Moment won the bronze metal for the Independent Publisher Book Awards. The book consists of 62 full color plates showcasing her use of the large-format 4x5 field view camera. A second documentary film, Through the Lens, was produced in association with the book. The film illuminates her photographic and artistic process in using a 4x5 large-format view camera.
Golnaz Abdoli
Iran/United States
1956
I was born in Iran and lived the first 18 years of my life there. The vivid memories of my homeland are its cold winters with snowcapped mountains, cars swerving on slippery roads, a small frozen pool, and me hoping that school would be cancelled; my mom preparing pomegranate for my siblings and I, and at the same time warming my hands with her warm breath. During the next forty years I enjoyed getting my degrees in Biology and Education in California, USA, raising my two children , and working in the field of education. I taught elementary school for 21 years. I picked up photography after I retired from teaching. I loved it immediately because it gave me a new voice to express myself and be creative. I found that photography and its many genres is a unique language with many dialects, and it can bring people from all over the world together. But now my love of photography has developed into a passion during the Covid-19 Pandemic. I appreciate it for helping me delve deep into my soul and understand myself better. During the lockdown photography has become my best friend and companion. Statement I approach photography of modern architecture as a visual puzzle that needs to be unravelled. My images are theatrical and mysterious. When I hold the camera, it awakens a sense of curiosity in me. I look up, ponder at the lines of steel coming together, light and shadow intertwining to form reflections, and I question how far into the space the lines travel, and the patterns repeat themselves. Reflections of outside buildings form mysterious forms and rhythms on the structural facade of modern architecture, inviting it to form a community with its surrounding. I appreciate the modern architecture for its beauty.
Veronica Alkmim
Brazil/Sweden
1959
Verônica Alkmim França is a multidisciplinary artist and photographer who has lived in Sweden and Brazil for many years. With a background in Fine Arts, Photography, and Communication, her portfolio includes sculptures, wearables, photographs, scenarios, and textiles, all of which reflect her cultural identity. Her frequent travel between Brazil and Sweden has led her to move away from conventional artistic venues. Born in Brazil, she emerged in the 1990s as one of the pioneers of wearable art in the country, sparking discussions on the fine line between design, art, and fashion, and inspiring new generations. Verônica’s work is also known for its photographic documentation of her art and her recent exploration as an authorial photographer. Her approach critiques mass consumption and the aesthetics of excess, while her collaborations with disadvantaged communities aim to give these groups visibility and support cultural social initiatives. She has been recognized internationally, winning awards such as the Female in Focus International Photography Award 2022 from the British Journal of Photography, the Brasília Photo Show 2022, the Chromatic International Photo Awards, and the Monochrome Photo International Awards. She has also been nominated for RE-Focus International Awards and Color International Photo Awards, won second place in Photomanipulation at FAPA (Fine Art Photography Awards), participated in the Women in Photography exhibition in Glasgow in 2023, and earned distinctions in the PX3 Prix de la Photographie de Paris, IPA International Photography Awards, Budapest Photo Awards, Aesthetica Magazine Prize, PISPA-Paris International Street Photo Awards, and Prix de la Photographie de Paris in 2024. Recently, she collaborated with WIEGO (Women in Informal Employment) and Sheffield University on the CATA project—Climate Change and Waste Pickers—featured at Memorial Minas Gerais Vale in Brazil and The Mind Festival in Sheffield, England.
Frances Benjamin Johnston
United States
1864 | † 1952
Frances "Fannie" Benjamin Johnston (15 January 1864 – 16 May 1952) was an early American female photographer and photojournalist whose career lasted for almost half a century. She is most known for her portraits, images of southern architecture, and various photographic series featuring African Americans and Native Americans at the turn of the 20th century. The only surviving child of wealthy and well connected parents, she was born in Grafton, West Virginia, raised in Washington, D.C., and studied at the Académie Julian in Paris and the Washington Students League following her graduation from Notre Dame of Maryland Collegiate Institute for Young Ladies in 1883 (now known as Notre Dame of Maryland University). An independent and strong-willed young woman, she wrote articles for periodicals before finding her creative outlet through photography after she was given her first camera by George Eastman, a close friend of the family, and inventor of the new, lighter, Eastman Kodak cameras. She received training in photography and dark-room techniques from Thomas Smillie, director of photography at the Smithsonian. She took portraits of friends, family and local figures before working as a freelance photographer and touring Europe in the 1890s, using her connection to Smillie to visit prominent photographers and gather items for the museum's collections. She gained further practical experience in her craft by working for the newly formed Eastman Kodak company in Washington, D.C., forwarding film for development and advising customers when cameras needed repairs. In 1894 she opened her own photographic studio in Washington, D.C., on V Street between 13th and 14th Streets, and at the time was the only woman photographer in the city. She took portraits of many famous contemporaries including Susan B. Anthony, Mark Twain and Booker T. Washington. Well connected among elite society, she was commissioned by magazines to do "celebrity" portraits, such as Alice Roosevelt's wedding portrait, and was dubbed the "Photographer to the American court." She photographed Admiral Dewey on the deck of the USS Olympia,[6] the Roosevelt children playing with their pet pony at the White House and the gardens of Edith Wharton's famous villa near Paris. Her mother, Frances Antoinette Johnston, had been a congressional journalist and dramatic critic for the Baltimore Sun and her daughter built on her familiarity with the Washington political scene by becoming official White House photographer for the Harrison, Cleveland, McKinley, "TR" Roosevelt, and Taft presidential administrations. Johnston also photographed the famous American heiress and literary salon socialite Natalie Barney in Paris but perhaps her most famous work, shown here, is her self-portrait of the liberated "New Woman", petticoats showing and beer stein in hand. Johnston was a constant advocate for the role of women in the burgeoning art of photography. The Ladies' Home Journal published Johnston's article "What a Woman Can Do With a Camera" in 1897[9] and she co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC. She traveled widely in her thirties, taking a wide range of documentary and artistic photographs of coal miners, iron workers, women in New England's mills and sailors being tattooed on board ship as well as her society commissions. While in England she photographed the stage actress Mary Anderson, who was a friend of her mother. In 1899, she gained further notability when she was commissioned by Hollis Burke Frissell to photograph the buildings and students of the Hampton Normal and Agricultural Institute in Hampton, Virginia in order to show its success. This series, documenting the ordinary life of the school, remains as some of her most telling work. It was displayed at The Exhibit of American Negroes of the Paris Exposition Universelle in 1900. She photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan-American Exposition of 1901 just before his assassination. With her partner, Mattie Edwards Hewitt, a successful freelance home and garden photographer in her own right, she opened a studio in New York in 1913 and moved in with her mother and aunt. Hewitt wrote Johnston love letters over the course of their relationship, which are chronicled in "The Woman Behind the Lens: The Life and Work of Frances Benjamin Johnston, 1864–1952." Many of the early letters focused on Hewitt's admiration for Johnston's work, but as their romance progressed, they became increasingly full of words of love: "...when I need you or you need me — [we] must hold each other all the closer and with your hand in mine, holding it tight..." She lectured at New York University on business for women and they produced a series of studies of New York architecture through the 1920s. In early 1920 her mother died in New York. In the 1920s, she became increasingly interested in photographing architecture, motivated by a desire to document buildings and gardens which were falling into disrepair or about to be redeveloped and lost. As her focus in architecture grew, she became specifically interested in documenting the architecture of the American South. Johnston was interested in preserving the everyday history of the American South through her art; she accomplished this by photographing barns, inns, and other ordinary structures. She was not interested in photographing the grand homes and estates of the American South, but rather the quickly deteriorating structures in these communities that portrayed the life of common southerners. Her photographs remain an important resource for modern architects, historians and conservationists. She exhibited a series of 247 photographs of Fredericksburg, Virginia, from the decaying mansions of the rich to the shacks of the poor, in 1928. The exhibition was entitled Pictorial Survey--Old Fredericksburg, Virginia--Old Falmouth and Nearby Places and described as "A Series of Photographic Studies of the Architecture of the Region Dating by Tradition from Colonial Times to Circa 1830" as "An Historical Record and to Preserve Something of the Atmosphere of An Old Virginia Town." Publicity from the display prompted the University of Virginia to hire her to document its buildings and the state of North Carolina to record its architectural history. Louisiana hired Johnston to document its huge inventory of rapidly deteriorating plantations and she was given a grant in 1933 by the Carnegie Corporation of New York to document Virginia's early architecture. This led to a series of grants and photographs of eight other southern states, all of which were given to the Library of Congress for public use. In December 1935, she began a year long project to capture the less evolved structures of the Colonial Era in Virginia. This was effort was intended to be a one year project, but evolved into an eight year extensive project, in which she surveyed 50,000 miles and 95 counties in Virginia. Johnston was named an honorary member of the American Institute of Architects for her work in preserving old and endangered buildings and her collections have been purchased by institutions such as the Metropolitan Museum of Art, the Virginia Museum of Fine Arts and the Baltimore Museum of Art. Although her relentless traveling was curtailed by petrol rationing in the Second World War the tireless Johnston continued to photograph. Johnston acquired a home in the French Quarter of New Orleans in 1940, retiring there in 1945, where she died in 1952 at the age of eighty-eight.Source: Wikipedia
Jack Welpott
United States
1923 | † 2007
Jack Welpott was a well-known American photographer and educator who made significant contributions to the field of fine art photography. Welpott, who was born in San Francisco, California in 1923, developed an early interest in photography and went on to become a significant figure in the West Coast photography scene. Welpott's career began in the 1950s, when he experimented with various photographic styles and techniques. He dabbled in black and white and color photography, tackling subjects ranging from landscapes to portraits. His work exhibited an acute sense of composition, light, and shadow, resulting in visually arresting and emotionally evocative images. Welpott rose to prominence in the Bay Area photography community in the 1960s. He was a founding member of the San Francisco Art Institute's influential photography program, where he taught for over three decades. Welpott fostered the talents of many aspiring photographers as an educator, inspiring and influencing generations of students. Welpott's work frequently centered on the human condition and the emotional nuances of daily life. He specialized in portraiture, capturing the essence of his subjects with empathy and sensitivity. His portraits revealed a strong bond with the people he photographed, reflecting their humanity and uniqueness. Welpott's photographs were distinguished by their meticulous attention to detail and ability to convey a sense of intimacy. His use of light and shadow added depth and dimension to his images, resulting in a visually compelling narrative. Welpott was recognized for his contributions to photography throughout his career. His work has been shown in a number of solo and group exhibitions, and he has received a number of prestigious awards, including the Guggenheim Fellowship. The legacy of Jack Welpott as a photographer and educator continues to inspire and influence modern photographers. His dedication to the craft, innovative approach to image-making, and commitment to developing emerging talent have all left an indelible mark on the world of photography. Welpott's photographs invite viewers to look at the human experience through a thoughtful and compassionate lens, capturing fleeting moments and preserving them as timeless works of art.
Khanh Phan Thi
Vietnam
1985
Hi I'm Khanh Phan, I'm 34 and I'm from Vietnam. I was born in 1985. I was born in Quỳnh Phụ, Thái Bình, a mainly agricultural land. My parents were farmers. I currently work at the bank and I am a bank teller. Photography is my passion. After a broken marriage in 2017, I was heartbroken and desperated and losing faith in life. Then I thought, I couldn't be like this forever, I needed to get over it and I bought a camera. First I went to take photos of flowers in a park near my house, then I realized that Vietnam, my beloved country, has so many hidden fabulous natural and cultural scenes that only few places in the world have. I have been to many places, met and learned about the different regional customs and practices. I then took those pictures, posted them on social media, and became popular with my friends. Photography has changed my life, got me through difficult times and is now my only personal joy today. At first I received strong opposition from my family. My mother thinks photography is too dangerous. I often have to go to the sunrise photograph from 4 am, come home after sunset. There are nights when I wait for the night dew, or milkyway, I have to be outside all night. My mother worried that I would be in danger of being robbed because women who go out late at night are very dangerous. And with my income, my mother is afraid that I will not be able to take care of my son and maintain a stable life if i pursues photography because photographic equipment is very expensive. I have never taken a class in photography and photoshop, I myself researched and practiced on photoshop and learned the experience for myself. I have been taking pictures for 2 years. Finally, with my own efforts, I received some small awards in photography, my mother believed in me and she supported my work. Vietnam is a country with many feudal dynasties. The Vietnamese family is mainly patriarchal. Today Vietnamese women know how to fight for gender equality, a few participate in politics and hold important positions in the state, but the gender discrimination is still quite clear. In addition to working for a living as a man does, we also hold the maternity role, take care of childeren and family, do the houseworks and rarely have the time to do the things we love. In order to persue my passion for photography, I have to sacrifice my happiness. I could not get married again. My income is about 15 million VND per month (about 600$ per month). With that income, it is enough to raise my son and still has a small part of it for photography enthusiasts including equipments and travel expenses. I often had to take pictures alone, and experienced many life-threatening things like staying in the cemetery alone at night when waiting for the sunrise at the churchs in Thanh Xa, Bao Loc, Lam Dong, wrestling with waves at Hang Rai, Phan Rang seashores, climbing mountains, or wading into swamps. Sometimes I forget I'm a woman. I have won a number of awards such as Sonyworld award 2019, Skypixel 2019, Drone award of Siena 2019 but some people do not recognize my ability and efforts. They think I'm lucky and for the reason that I am a woman. Vietnam from Above Vietnam is a beautiful country with a diverse culture. Each region will have many unique cultural features with traditional villages that are hundreds of years old. The Vietnamese people stick to the traditional profession and take it as a way of gratitude to their ancestors. Although the traditional profession is very hard and low-income compared to other modern jobs, the artisans still stick to the profession as flesh and blood and want to pass it on to future generations. The daily lives and jobs of Vietnamese workers are recorded from above.
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry