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Manuel Armenis
Manuel Armenis
Manuel Armenis

Manuel Armenis

Country: Germany
Birth: 1971

Manuel Armenis is an award winning independent street and fine-art photographer based in Hamburg, Germany, dedicated to documenting daily life. He was born in Mannheim (Germany). He studied at Icart, École de Photographie in Paris (France), and at the University of the Arts in London (England). Since graduating he has been working as an independent filmmaker and photographer.

The emphasis of his practice is the realization of long-term projects with a focus on exploring the human condition within everyday and commonplace urban environments. Manuel´s work has been exhibited internationally in galleries in both solo and group shows. His photographs were published in leading contemporary photography magazines and online. He has received numerous awards, including 1. prize winner at the Sony World Photography Awards in 2018, and has been a finalist at the LensCulture Street Photography Awards in 2017 and at the Meitar Award for Excellence in Photography in 2019, among others. Manuel currently lives and works as a freelance photographer in Hamburg, Germany.

About Diamond Days

The quintessential trait of the mundane is, of course, its lack of spectacle. It is recognizable to us, familiar, in its plainness and with its non-event-character. Due to those alleged properties it is a world that gets all too willingly labeled boring and banal. At times we might even feel offended by its lack of sophistication. We believe to know the mundane well, but, unimpressed by its unremarkable nature, we usually choose to look elsewhere. And yet, as much as we try to ignore it, there remains this suspicion that we might not be able to evade it. An inkling that it might contain something that keeps us connected.

The series Diamond Days is an exploration of the commonplace. We are shown snippets of the everyday, fragments of moments, ordinary situations. There is a playful touch to this world, a colorful lightness and warmth, a sense of joy; and yet, these unassuming landscapes seem to contain something else. Elusive. Layered. Ambiguous. A somewhat bleaker undercurrent which might pick up on the sensation of slight unease that we often associate with the ordinary.

By carrying signs of human behavior and a way of living, the ordinary provides us with a rendering of the now. But it also contains references to a time gone by and challenges us to look back. It exposes our need to make sense of our lives and raises the tricky question of what could have been. It confronts us with the notion of missed opportunities and unfulfilled dreams. And it reveals our disposition to fill any void with nostalgia.

Website

www.manuelarmenis.com

 

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More Great Photographers To Discover

Habip Koçak
Habip Koçak
Turkey
1969
I was born in 1969 in Tarsus/Turkey. I graduated from Çukurova University, Department of Mathematics. In 1995, I started working as a Research Assistant at Marmara University. After 25 years, I resigned and moved to England. I am currently working as a Senior Researcher at the Oxford Center of Technology and Development. In photography, I try to produce Documentary Photography, which I think is in the middle of life. Recently, I produced projects named "Obscure", "Kakava - Behind the Scene" and "I Can't Breathe". As of October 2020, my book titled "Unsuzler", which includes street portraits I produced in the previous years has been published. I am currently a member of RPS (Royal Photographic Society), OPS (Oxford Photographic Society) and IFSAK.
Bob Willoughby
Bob Willoughby
United States
1927 | † 2009
Bob Willoughby, whose photographs transformed the images of Hollywood’s biggest stars, is a true pioneer of 20th century photography. He was the first “outside” photographer hired by the major studios to create photographs for the magazines, and was the link between the filmmakers and major magazines of the time, such as Life and Look. Born June 30th, 1927 in Los Angeles, his parents were divorced by the time he was born and he was raised by his mother. Bob was given an Argus C-3 camera for his twelfth birthday, providing the catalyst for what would become the key to his future. After high school, he studied cinema at night at the USC Cinema Department and design with Saul Bass at the Kahn Institute of Art. At the same time he apprenticed with a number of Hollywood photographers; Wallace Seawell, Paul Hesse, and Glenn Embree, gleaning technical and business know-how. His first magazine assignments were for Harper's Bazaar in the early ’50s when famed art director Alexey Brodovitch became aware of his work. His career took off in 1954 when Warner Bros. asked him to photograph Judy Garland’s final scene on the set of A Star Is Born. His portrait of the freckle-faced star became his first Life cover. From then on his production was phenomenal. His images were in print literally every week for the next twenty years. As the first “special” he covered the making of over 100 films, including the 1960s movies The Graduate, My Fair Lady, Rosemary’s Baby and Who’s Afraid of Virginia Woolf?. His body of work, documenting this historic era of filmmaking, is unsurpassed. He captured with wonderful perception the most famous actors and directors of the time on and off the set, in unguarded moments of repose, vulnerability and high drama. He had a unique ability to capture what was essential to each film. Bob also had a remarkable understanding of the needs of each individual magazine; he could be shooting for seven different publications and know exactly what each one needed in terms of editorial content and design layout. While Willoughby is most famous as the great chronicler of Hollywood, before he began covering film production he had already made an astonishing series of images of jazz musicians. Willoughby had a huge appreciation of jazz both in its technical aspects and its ability to raise the roof in performance. He had a masterful feel for the character of the artists, and he was able to convey it even in the difficult lighting conditions of recording studios and stage. He was responsible for a number of technical innovations, including the silent blimp for 35mm still cameras, which became common on film sets. He was the only photographer working on films at the time to use radio-controlled cameras, allowing him unprecedented coverage in otherwise impossible situations, and he had special brackets built to hold his still cameras on or over the Panavision cameras. The Academy of Motion Picture Arts and Sciences in Hollywood honored Willoughby with a major retrospective exhibition of his work. He was awarded the Lucie Award for Outstanding Achievement in Still Photography in New York in 2004. His photographs are in the permanent collections of the National Portrait Gallery, Washington, D.C.; the National Portrait Gallery, London; the National Museum of Photography, Bradford, UK; Bibliothèque Nationale de France, Paris; the Museum of Modern Art, Film Department, New York; the Academy of Motion Picture Arts and Sciences, Beverly Hills; the Metropolitan Museum of Art, New York; the Tate Gallery Collection, London; Théâtre de la Photographie et de l’Image, Nice; and Musée de la Photographie, Charleroi, Belgium. In December 2009, Bob passed away at his home in Vence in the South of France, surrounded by his wife Dorothy and four children.Source: willoughbyphotos.com
JJ Jordan
JJ Jordan
Poland
1973
JJ Jordan is a visual artist, graphic designer, and photographer based in Surrey, UK. Working with both digital and analogue photography he creates monochrome, blurred, layered, or multi-exposed visual metaphors that favour ambiguity over certainty. Jordan’s work is deeply informed by personal experience, influenced by the dreamlike narratives of Murakami, Schulz, and Kafka, and the surreal aesthetics. Artist Statement My work explores the fragile line between perception and reality, between what is seen and what is felt. Through experimental portraiture and conceptual photography, I aim to question visual certainty and challenge the camera’s claim to truth. Often working in monochrome, and drawing on both digital and analogue processes (while deliberately excluding AI), I construct images that blur, layer, or distort, embracing ambiguity over resolution. Themes of memory, identity, and absence run through much of my work. Figures appear half-seen or obscured, more like echoes than individuals, suggestive rather than declarative. A blurred face, a painted square, a fleeting gesture, each becomes a site of tension between presence and disappearance. I am less interested in documenting a subject than in evoking the trace they leave behind: a flicker, a feeling, a fragment. Influenced by the surreal visual languages of art history and by the dreamlike narratives of Murakami, Schulz, and Kafka, my photographs often borrow from the whimsical and the uncanny. I aim to create images that invite pause, a space for wonder, doubt, and emotional reflection. Born behind the Iron Curtain and shaped by time spent across cultures, my perspective is rooted in a sense of displacement and layered experience. My portraits are not confessions; they are invitations, open-ended and unresolved, like memories still in the making. Awarded Photographer of the Week - Week 24
Beckett Hornik
Beckett Hornik
United States
2002
Beckett was born and lives in the San Francisco Bay Area. He began photographing in sixth grade when he decided to pick up a film SLR camera as an alternative way to capture moments throughout his early teen years. His interest in photography grew during his middle school period. He explored the photos of many masters of photography and found inspiration in the California and Bay Area art scene. He also became interested in fashion and art magazines at this time. Beckett’s photography is strongly rooted in the work he has seen and admired, as well as by the environment and people around him. In the summer of 2016, he attended an Eric Kim street photography workshop. Through this, he expanded his photography beyond the bounds of his family and friends to the less comfortable settings of streets and cities he visited. Beckett continues to shoot photos as often as possible. He is expanding his interests, always searching for the next focus of his teenage years and possibly one that will continue into his adult life.
Milton Rogovin
Milton Rogovin
United States
1909 | † 2011
Milton Rogovin was born in New York City in 1909. He graduated from Columbia University in 1931 with a degree in optometry and a deep concern for the rights of the worker. He moved to Buffalo, New York, in 1938, where he established his own optometric practice in 1939. In 1942, he married Anne Snetsky. That same year, he purchased his first camera, and was inducted into the U.S. Army, where he served in England as an optometrist until 1945. Upon his discharge, he returned to his optometric practice and his growing family. By 1947, the Rogovin's had two daughters, Ellen and Paula, and a son, Mark.Source: www.miltonrogovin.com Milton Rogovin (1909–2011) was a documentary photographer who has been compared to great social documentary photographers of the 19th and 20th centuries, such as Lewis Hine and Jacob Riis. His photographs are in the Library of Congress, the J. Paul Getty Museum, the Center for Creative Photography and other distinguished institutions. Milton Rogovin was born December 30, 1909 in Brooklyn, New York City of ethnic Jewish parents who emigrated to America from Lithuania, then part of the Russian empire. He attended Stuyvesant High School in New York City and enrolled in Columbia University, from which he graduated in 1931 with a degree in optometry. Following graduation Rogovin worked as an optometrist in New York City. Distressed by the rampant and worsening poverty resulting from the Great Depression, Rogovin began attending night classes at the New York Workers School, a radical educational institution sponsored by the Communist Party USA. In 1938 Rogovin moved to Buffalo and established an optometry practice there. In 1942, he married Anne Snetsky (later changed to Setters). In the same year, he was inducted into the U.S.Army, where he worked as an optometrist. After his discharge from the Army, Milton and Anne had three children: two daughters (Ellen and Paula) and a son (Mark). Rogovin was called before the House Un-American Activities Committee in 1957. Like many other Americans who embraced Communism as a model for improving the quality of life for the working class, he became a subject of the Committee's attentions in the postwar period: He was discredited — without having been convicted of any offense — as someone whose views henceforth had to be discounted as dangerous and irresponsible. The incident inspired Rogovin to turn to photography as a means of expression; it was a way to continue to speak to the worth and dignity of people who make their livings under modest or difficult circumstances, often in physically taxing occupations that usually receive little attention. In 1958, a collaboration with William Tallmadge, a professor of music, to document music at storefront churches set Rogovin on his photographic path. Some of the photographs that Rogovin made in the churches were published in 1962 in Aperture magazine, edited by Minor White, with an introduction by W.E.B. Du Bois, a founder of the National Association for the Advancement of Colored People (NAACP). That same year Rogovin began to photograph coal miners, a project that took him to France, Scotland, Spain, China, and Mexico. Many of these images were published in his first book, The Forgotten Ones. Rogovin traveled throughout the world, taking numerous portraits of workers and their families in many countries. His most acclaimed project, though, has been The Forgotten Ones, sequential portraits taken over three decades of over a hundred families who resided on Buffalo’s impoverished Lower West Side. The project was begun in 1972 and completed in 2002. In 1999, the Library of Congress collected more than a thousand of Rogovin’s prints.Source: Wikipedia
Joseph Szabo
Joseph Szabo
United States
1944
What strikes us first in the photographs of Joseph Szabo is a quiet shock of recognition. His poignant images of the life of American teens present a nostalgic portrait of those tumultuous years between childhood and adulthood. We remember our own high school years - first loves, classic rock, hanging out. We see ourselves in his photographs. Born in Toledo, Ohio, Joseph Szabo discovered his passion for photography as a student at New York's Pratt Institute. By the early 1970s, he was teaching art and photography at Malverne High School in a working-class neighborhood on Long Island. As he struggled to connect with his students, Szabo began using his camera to bridge the gap between teacher and student. In the classroom or on school grounds, and with the neutral eye of a documentary photographer, Szabo depicted his subjects as they were - preening and posing, showing off and goofing around, kissing, smoking - without judgment. What emerges is a dignified, compassionate, and tender view of teenage life rarely seen by adults. Although Szabo's portrait of adolescence in America is specific to suburban Long Island in the 1970s and 1980s, the images are universal and timeless. They capture the bravado and vulnerability, the joy and exuberance, the angst and fear, and the blossoming self-confidence and emerging sexuality of those complex years at the cusp of adulthood. Describes as a "chronicler of teenage life," Szabo's work actually comprises several distinct series - adolescents, Rolling Stones fans, Jones Beach and hometowns - that share a common aesthetic. Wether his camera is focused on his students, the "melting pot of humanity" at Jones Beach, fans at a rock 'n' roll concert, or the suburban streets of the East Coast and Ohio, Szabo's interest is in capturing quintessential American experiences, familiar to all of us, no matter where we grew up. He taught at the International Centre of Photography (ICP). Szabo is the recipient of a National Endowment for the Arts Fellowship and his work resides in the permanent collections of the Metropolitan Museum of Art, International Center of Photography and the Bibliothèque Nationale de France in Paris. Szabo is most notable for his photographs of American youth taken during the 1970s and collected in the books Almost Grown and Teenage. His photograph Priscilla was featured as the cover of alternative rock band Dinosaur Jr's 1991 album Green Mind. Szabo made a body of work on Rolling Stones Fans photographed at a concert in Philadelphia in 1978. Joseph Szabo currently lives in Amityville, New York with his wife Nancy.Source: Wikipedia Joseph Szabo is a teacher, photographer and author. He taught photography and art at Malverne High School on Long Island for 27 years and for over 20 years at the International Center of Photography in Manhattan. His 1978 book, Almost Grown, featured many of his students and was acclaimed as one of the “Best Books of the Year” by the American Library Association. In the book’s forward, legendary photojournalist and Founder of the International Center of Photography Cornell Capa, wrote that “…in Szabo’s hands, the camera is magically there, the light is always available, the moment is perceived, seen, and caught.” Throughout the 80s and 90s, Almost Grown attained cult classic status in the fashion world, prompting Vogue editor Grace Coddington to notice that “all the young fashion photographers were looking at Joe’s photographs as their bible.” In 2003, Szabo released Teenage his more complete view of adolescents coming of age. His most recent book Jones Beach captures his forty year exploration of summer at New York’s most popular beach. Szabo’s evocative black and white images have won him worldwide recognition and admiration, from photographers including Bruce Weber and filmmakers Cameron Crowe and Sofia Coppola. He is the recipient of a photography fellowship from the National Endowment for the Arts and his images reside in the collections of the Bibliothèque Nationale de France in Paris, the George Eastman House museum in Rochester, the Museum of Modern Art in New York, and the San Francisco Museum of Modern Art, among many others. His photographs have been published in The New York Times, the Los Angeles Times, The Times, French Vogue, Women’s Wear Daily and exhibited at galleries in Paris, London, Japan, New York, Atlanta and Los Angeles.Source: josephszabophotos.com Galleries Jackson Fine Art Michael Hoppen Gallery Gitterman Gallery M+B Gallery
Aaron Siskind
Aaron Siskind
United States
1903 | † 1991
Aaron Siskind was born on December 4, 1903 in New York. He was the son of Russian Jewish immigrants and the fifth of six children. After receiving his Bachelor of Social Science degree from the College of the City of New York in 1926, he went on to teach high school English in the New York public school system for 21 years. His first loves were music and poetry, but he took an interest in photography after his 1929 wedding, when he received his first camera as a honeymoon present. He began his career in photography as a documentarian in the New York Photo League in 1932. From 1936 to 1940, he oversaw the League’s Feature Group as they created documentary photo essays of political importance, fueled by a desire for social change.On the invitation of Harry Callahan, Siskind joined the faculty of the Institute of Design in Chicago in 1951, taking over as head of the photography program in 1961, when Callahan left. Siskind and Callahan, famous for their synergy as teachers and photographers, reunited in 1971 when SIskind left the Institute of Design for the Rhode Island School of Design where Callahan then taught. Siskind continued to teach at RISD until his retirement in 1976. He traveled broadly, making multiple trips to Mexico and Italy, including a stint in Rome, funded by his 1966 John Simon Guggenheim Memorial Fellowship.Siskind died at age 87 in Providence, Rhode Island. The Aaron Siskind Centennial Celebration took place in 2003 and 2004, with exhibitions at more than a dozen institutions across the country, each devoted to a different period or theme of his life and work.
Robert Rutöd
Robert Rutöd
Austria
Robert Rutöd was born 1959 in Vienna, Austria. Early pursuit of painting; from 1978 on photography. Works from these years later appeared with some of his absurd texts in the book grayscales. early b&w photographs 1978-1988. Between 1979 and 1993, Robert Rutöd wrote screenplays and directed short films. In the mid-90s, he increasingly devoted himself to the design of books and applications for digital media. In 2004 he returned to photography; since 2009, he presents these images to a wider audience. In his projects, Robert Rutöd investigates the paradox Human with its sometimes tragicomic aspects. In 2009 the photo book Less Is More resulted from that and three years later, the series Right Time Right Place has been finished. For this he received several awards including the New York Photo Award 2012, the Special Prize of the Czech Center of Photography, and most recently Artist of the Year at Dong Gang International Photo Festival in South Korea. In 2017 he completed his series Fair(y) Tales, retelling an almost ten-year expedition through the burlesque realm of trade fairs and exhibition areas. Rutöd’s photographs have been shown worldwide at numerous photography festivals and exhibitions; his work has been widely published in magazines and on blogs. Robert Rutöd lives and works in Vienna. (Source: Robert Rutöd Website) Right Time Right PlaceBeing at the right place at the right time is usually associated with happiness and success. But what happens when we are at the right place at the wrong time? Do we even know that this is the right place? And what if it turns out that it is the wrong place after all? But the right time! “Right Time Right Place” is a collection of photographs I made in the last five years on my travels through Europe. The images revolve around the question of whether it is possible for a person to be in the right place at the right time. Is the ideal state of space and time something we are awarded or is it a state we have long been living in without being aware of our good fortune? I hope I have not succeeded in answering this question. Nothing fails more pathetically than an artist’s attempt to explain the world and its relationships. Rather, my work leads to the conclusion that the world cannot be explained. Once an exhibition visitor in New York told me that, when viewing my photos, she felt that the protagonists seemed to be kind of disobedient. I really liked that interpretation. "What Robert Rutöd brings to the contemporary photographic dialogue is that intangible ability to see the world with a skewed lens - a lens that is compassionate and at the same time, unkind. It is a lens that is the stuff of operas and nightmares, comedies and slapstick. Robert finds that split second of humor or truth telling and that instant of social documentation or absurdity that makes us not only laugh at ourselves, but also laugh and feel embarrassed all at the same time. Or should I say, at The Right Time." (Aline Smithson, from the foreword to the book „Right Time Right Place“) “Right Time Right Place” was awarded the Special Prize of the Czech Center of Photography at the Photo Annual Awards 2012. A photo from the series won the New York Photo Award 2012 in the category Fine Art. Exclusive Interview with Robert Rutöd:AAP: When did you realize you wanted to be a photographer?At a certain point I can't remember. I guess, at the moment when I was pleased with my photographs.AAP: Where did you study photography?I'm self-taught...AAP: How long have you been a photographer?In total, maybe twenty years, with shorter and a long breaks and also a hiatus for more than ten years.AAP: Do you remember your first shot? What was it?Tough question, my very first photographs were still largely staged. That reminds me of the corpse of a young man, with countless clothespins on the upper body, or a self-portrait in which I am seen with a pair of shoes on my shoulders.AAP: How could you describe your style?Style is not something that you choose; it happens, to a certain extent, over time. In photography, a signature style is often more difficult to discover, sort of like in painting. A graphologist might interpret my works thusly: "Easy to read, no scrawling, he's going on rapidly and purposefully in problem-solving and asks the right questions at the right moment." I could then add: "Regarding the content, rather puzzling over long distances."AAP: What kind of gear do you use? Camera, lens, digital, film?One digital camera, one good lens.AAP: What or who inspires you?Since my work is not staged, I'm only inspired when the photographic event unfolds before my eyes, a reverse brainstorming so to speak.AAP: Do you spend a lot of time editing your images?Yes, to edit my own photographs is sometimes a lengthy process. The pictures have to go through some tests to be integrated into an ongoing project. This decision-making is sometimes damn hard to reach; it helps to let a few weeks or even months pass.AAP: What advice would you give a young photographer?Not to listen to any advice...AAP: What mistake should a young photographer avoid?None! Because there is no such thing as error, in fact, and consequently no recipe for success.AAP: Your best memory as a photographer?A fair for undertakers and the fashion show taking place there, including a coffin on the stage.AAP: Your worst souvenir as a photographer?The cluelessness of so many "experts."AAP: If you could have taken the photographs of someone else who would it be?I am satisfied so far with my work, as I want to get into the skin of others. Of course there's truly great work that I would like to see in my portfolio, "Royal Harare Golf Club" by Martin Parr for example, one or two pictures by Helen Levitt.AAP: An idea, a sentence, a project you would like to share?First the bad news: The publication date of my book "Milky Way" has been moved to next year. Now the good: I'm very happy about the positive echo that my series "Right Time Right Place" caused since its release about a year ago, including my participation in festivals in Los Angeles, Copenhagen, Delhi, or recently at the Miami Street Photography Festival. In January 2014, my project will be a solo exhibition to be seen. “eigensinnig“ (stubborn) is the name of the new gallery in Vienna, whose founder Toni Tramezzini, is aiming to show something that is rarely seen in this city: something that's not serial, not conceptual, not staged photography.
Théo Saffroy
Théo Saffroy
France
1992
Théo Saffroy is a 27-year-old French photographer based in Paris. He is settled in France after years living abroad in Mexico, Sweden, and Belgium. In 2016, after he got his degree in Business Administration, he created a documentary project and led a 25.000 kms motorcycle journey in South America to work on native communities such as the Mapuche, the Quechuas and the Yaneshas. Back in France after 8 months on the road, he made his first exhibition and became professional. He has been part of Hans Lucas Studio since 2019. He is both a documentary photographer and brand content creator. His documentary work focuses on the human being and questions notions of identity, memory, and transmission. He is particularly interested by the link between people and their traditions and seeks to document isolated and singular lifestyles all around the world. Besides, he is a content creator for innovative brands. He is specialized in portraiture and report as a photographer and filmmaker. Theo's work has been published in French press such as L'Equipe Magazine, Fisheye Magazine, Paris Match, Le Figaro, Courrier International, Marianne, L'Obs, France Info.
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