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Filippo Mutani
Filippo Mutani
Filippo Mutani

Filippo Mutani

Country: Italy
Birth: 1971

Born and raised in Italy, Filippo Mutani is a worldwide represented Getty Images and Contour photographer.

His work is mainly based on reportage -T-The New York Times Style Magazine, Financial Times, Newsweek, The Guardian, The Independent, Internazionale, National Geographic, Days Japan- but he shoots also celebrity portrait -Vanity Fair, Corriere Della Sera Style-, fashion editorials -Vogue Italia- and corporate/advertising - Giorgio Armani, Fendi, Burberry, Campari, Pirelli-. He teaches photography in IED Milan.

Through the years his work has been awarded -he won PDN, PX3, NYPF, IPA, NPPA, WPGA and LensCulture's Emerging Talent- and exhibited -Leica Gallery, New York Photo Festival, London Royal Geographical Society, Palazzo Dei Giureconsulti- internationally.

City of Protest, Hong Kong 2020
 

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Masao Yamamoto
Masao Yamamoto was born in 1957 in Gamagori City, Aichi Prefecture in Japan. Although originally trained as a painter, he is one of the best known Japanese photographers working today. Yamamoto’s images are like fragments from a puzzle that capture an allusive, ineffable moment. He has produced several limited edition series of mixed media photographs, including Box of Ku, Nakazora, Kawa=Flow and most recently, Shizuku=Cleanse. He has published several books among them: Box of Ku, (Nazraeli Press, 1998); Nakazora (Nazraeli, 2001); The Path of Green Leaves (Nazraeli, 2002); Omizuao (Nazraeli, 2003); Santoka (Harunatsuakifuyu Sousho, Japan,2003); é (2005); Fujisan (Nazraeli, 2008); Yamamoto Masao, (Galerie Albert Baumgarten, Germany, 2009); Yamamoto, Masao (21st Editions, 2011); and Where we met: Yamamoto, Masao and Arpaïs du Bois (Lanoo Publishers, Belgium, 2011). Masao Yamamoto’s work has been exhibited all over the world, and his photographs are in many public and private collections including: the Museum of Fine Arts, Houston; the International Center of Photography; the Center for Creative Photography; the Santa Barbara Art Museum; the Victoria and Albert Museum; the Maison Européenne de la Photographie; and the Sir Elton John Collection. Source: Etherton Gallery Masao Yamamoto (born 1957 in Gamagori City in Aichi Prefecture, Japan) is a Japanese freelance photographer known for his small photographs, which seek to individualize the photographic prints as objects. Yamamoto began his art studies as a painter, studying oil painting under Goro Saito in his native city. He presently uses photography to capture images evoking memories. He blurs the border between painting and photography however, by experimenting with his printing surfaces. He dyes, tones (with tea), paints on, and tears his photographs. His subjects include still-lives, nudes, and landscapes. He also makes installation art with his small photographs to show how each print is part of a larger reality. Source: Wikipedia Masao Yamamoto's photography is known for evoking emotional power in the form of small-scale photographs. Photographer Masao Yamamoto (1957-present) was born in Aichi Prefecture in Japan. Originally interested in pursuing painting, studying oil painting specifically under Goro Saito. Though Masao Yamamoto eventually transitioned into photography in 1993, his painting background is apparent in his works’ painterly look, incorporating blurs and experimenting with printing surfaces; with many Masao Yamamoto photographs, he manipulated the silver gelatin prints through analogue, which means such as painting the images with tea or actual paint and tearing them. Subjects vary wildly, ranging from Japanese countryside to nude female bodies. Many liken Yamamoto’s art to haikus, considering his mastery of brevity and focus on everyday details. Yamamoto's photography and prints are on permanent display at museums like the J.P. Morgan Chase Art Collection as well as many other private, corporate and public collections. Masao Yamamoto's photography style is a study in tactile experience, encouraging viewer engagement through nuanced layers and unique museum and gallery installations. His extremely detail-oriented approach creates an intricate, ephemeral feel; each photograph is an isolated section of a larger series, like Box of Ku, which featured handheld-sized images. Most of his series work is unframed and artificially aged to mimic a tangibility, further lending to the accessibility. Masao Yamamoto has published many monographs, including Tori (Radius Books, 2016), Poems of Santoka (Galerie Vevais, 2016), Small things in silence, (Editorial RM, 2014), KAWA=Flow (Kochuten Books, 2011), YAMAMOTO MASAO (21st Editions, 2011), Fujisan (Nazraeli Press, 2008), é (Nazraeli Press, 2005), Omizuao (Nazraeli Press, 2003), Santoka (Harunatsuakifuyu Sousho, Japan, 2003), The Path of Green Leaves (Nazraeli Press, 2002) and A Box of Ku (Nazraeli Press, 1998). Masao Yamamoto's photography and prints are on display in museums and galleries across the United States, Japan, Europe, Russia and Brazil. His work is included in permanent collections like International Center of Photography, Victoria and Albert Museum, the Sir Elton John Collection. Masao Yamamoto has also had photographs hung at Jackson Fine Art, including solo shows Nakazora (2003) and A Box of Ku (1999) and group show Contemporary Japanese Photography. Source: Jackson Fine Art
Melvin Sokolsky
United States
1933 | † 2022
Melvin Sokolsky is an American photographer and film director. Born in New York City in 1933, Sokolsky was raised on the Lower East Side. He had no formal training in photography, but started to use his father's box camera at about the age of ten. Always analytical, he started to realize the role that emulsion played as he compared his own photographs with those his father had kept in albums through the years. "I could never make my photographs of Butch the dog look like the pearly finish of my father's prints, and it was then that I realized the importance of the emulsion of the day." Around 1954, Sokolsky met Robert Denning, who at the time worked with photographer Edgar de Evia, at an East Side gym. "I discovered that Edgar was paid $4000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration." Whether floating models down the Seine in a bubble, or shrinking his subjects, Alice-like, to miniature heights, Melvin Sokolsky helped to pioneer illusory fashion photography long before the age of digital enhancement took hold. Though he is best known for his editorial fashion photographs for publications such as Harper's Bazaar (for which he produced, in 1963, the Bubble series of photographs depicting fashion models “floating” in giant clear plastic bubbles suspended in midair above the River Seine in Paris), Vogue, and The New York Times, Sokolsky’s work is not limited to that field. Three quarters of his print photography has been for advertising, which does not usually carry a byline. As Sokolsky said in an interview: “I resented the attitude that ‘This is editorial and this is advertising. I always felt, why dilute it? Why not always go for the full shot?” Toward the end of the 1960s, Sokolsky worked as both commercial director and cameraman. He did not, however, abandon the world of print photography; in 1972 he was asked to photograph the entire editorial content of McCall's Magazine, a first for any photographer.Source: Wikipedia Melvin Sokolsky was born and raised in New York City where he started his distinguished career as a stills photographer. At the age of twenty-one he was invited to join the staff of Harper's Bazaar. Within the next few years he worked as a major contributor to four prestigious magazines: Esquire, McCall's, Newsweek, and Show. His photographs of internationally famous personalities have appeared in many of the major museums and magazines worldwide. In 1962, Sokolsky photographed the entire editorial content of McCall's Magazine, a first in its time. He is best known of his infusion of surrealism in his fashion photography, with his iconic series of women encased in plastic bubbles, floating around various cityscapes. In 1964, Sokolsky was invited by the School of Visual Arts in New York to teach a special class at his studio in New York. In 1969, Sokolsky embarked on a new career in television commercials as director/cameraman. Sokolsky has been honored with twenty-five Clio Awards, and is the recipient of every major television commercial award including the coveted "Directors Guild" nomination. Many of Sokolsky's commercials are in the permanent collection of the Museum of Modern Art. In 1972, Sokolsky versed in all phases of special effects and cinematography, presented a computerized zoom lens that he designed to the Academy of Arts and Sciences. The system was subsequently nominated for an Academy Award. 1975, Sokolsky was invited by the Japanese Graphic Society to lecture in Tokyo and Kyoto, and was subsequently named Honorary Professor of Photography. In 1986, the Victoria and Albert Museum installed an exhibition of photographs called Shots of Style, a retrospective of the worlds major fashion photographers. The Victoria & Albert included Sokolsky's photographs in the exhibit, and subsequently placed many of them in their permanent collection. In 1991, the Victoria and Albert Museum mounted a show called Appearances, that is slated to travel around the world. Source: www.sokolsky.com
Dmitry Ersler
Russia
1969
Dmitry Ersler is an award-winning fine art and advertising photographer with over two decades of experience. Born in Moscow, USSR and now based in Thailand, he began his artistic training under the guidance of his father. From 1976 to 1984, he studied at a Moscow public school, followed by public high school from 1984 to 1986. Between 1998 and 2004, he studied law at the Moscow Law University. Simultaneously, from 1999 to 2002, he pursued professional photography studies at the Moscow School of Art and Photography. Artist Statement: The artist's task is to awaken the viewer's imagination. My goal as a photographer is to evoke the viewer's imagination, trigger it, bring it to life. No one can create a picture better and brighter than the viewer's own imagination. It just needs a push, an impulse. My name is Dmitry, and I am a photographer. I create realistic-style photos depicting people in everyday life. However, most of my works are pictures with stories, with a narrative. The idea of creation such works is to photograph images with embedded stories and attempt to describe them using various techniques (interior details, clothing or props, lighting, model's pose, facial expressions, gestures, and so on). The people on these photographs are not just models; each of them is a participant in some events, a hero of their own story. And in each story, there was a past that happened just a moment before the viewer approached the photograph. There is also a present frozen while the viewer looks. And there is a future that will come as soon as the viewer steps away from the image. Each viewer has to examine the present himself, speculate about the past, and anticipate the future. What was in this imaginary past and what will be in the future entirely depends on the imagination of each viewer. The most important thing for me is that the viewer, flipping through a magazine or walking along the gallery wall, stops and looks at the image, freezes, and begins to ask themselves questions: What is happening here? Why is the protagonist of the picture doing this? What prompted him to do this? What will happen next? Making these questions arise is the essence of art.
Jeff Corwin
United States
1954
Over the years, Jeff Corwin has taken photos out of a helicopter, in jungles, on oil rigs and an aircraft carrier. Assignments included portraits of famous faces, including Bill Gates and Groucho Marx and photos for well-known corporate clients like Microsoft, Apple, Rolls-Royce and Time/Life. After 40+ years as a commercial photographer, Corwin has turned his discerning eye to fine art photography, primarily landscape vistas. He carried his same vision forward, his desire and ability to see past the clutter and create photographs grounded in design. Simplicity, graphic forms, strong lines or configurations that repeat are what personally resonate - a reaction to experience, spirit and instinct. Visual triggers are stark and isolated vistas: a black asphalt road cutting for miles through harvested wheat; an empty, snowy field with a stream creating a curve to a single tree; or a small barn, the roof barely visible above a barren hillside. Trusting his vision is important to Corwin. He has always kept the same approach, the same eye, looking for and adding to the visual qualities that arrest him. This holds true even in his non-landscape work. He cites his mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper as inspiration. His experience has taught him not to second guess elements like composition or content. Humble shapes, graphic lines. Eliminate clutter. Light when necessary. Repeat. His commercial work has won many prestigious awards and garnered vast international media coverage. Corwin's career shift into fine art photography is being met with the same serious attention. He is currently exhibiting in several important contemporary galleries throughout the western United States. Statement "Before I started to devote myself full time to my personal work, I spent 40 years in the world of commercial photography. The majority of my clients were ad agencies and graphic design firms. My photographic focus was on corporate offices, factories, oil refineries and aerospace companies with dark busy manufacturing facilities. I learned that my job title was not "photographer." What I really was - a problem solver. Over the first few years, I developed a style that, with the help of artificial lighting, helped me to see past the clutter and create photographs that were more design than immediately recognizable objects. I worked with whatever was there, all the mundane things that most people walk by or do not notice. I saw great imagery in graphic shapes, shapes that repeat, like patterns in ceilings from ugly fluorescent lights or rows of desks or chairs. It was a created opportunity instead of found. I became known as the photographer to send into hell-holes to bring back the goods (a blessing and a curse). Graphis Magazine once used a quote of mine: "It's amazing how much time I spend lighting, just to get things dark enough." Absolutely true! Once I got past that particular hurdle, I was able to move on to subjects that had real possibilities and make them look even better. But I kept the same thought process, the same eye, looking for and adding to the graphic qualities. (A special shout out to mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper.) On to my current images - landscapes. While certainly not working with the same control I had in the advertising world, it provides, in some ways, more. Or perhaps I should simply different. What I have found is that I could bring the same vision I used for my commercial work into my landscape work. In fact, I do not think I really had a choice. The work I do now is 100% informed by my experience shooting for clients. I see how I see and, after 40+ years of making photographs, it seems foolish to try and change now. I trust that what I have learned works. I have even brought artificial light into the landscapes! Simple shapes, graphic lines, eliminate clutter. Light when necessary. Repeat." Galleries Courtney Collins Fine Art Stapleton Gallery Echo Arts Westward Gallery
Louis Stettner
United States
1922 | † 2016
Louis Stettner was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. He continued to photograph New York and Paris up until his death. My way of life, my very being is based on images capable of engraving themselves indelibly in our inner soul’s eye. -- Louis Stettner Louis Stettner was born in Brooklyn, New York, where he was one of four children. His father was a cabinet maker, and Louis learned the trade when young, using the money he earned to support his growing love of photography. He was given a box camera as a child, and his love affair with photography began. His family went on trips to Manhattan and visited museums, including the Metropolitan Museum of Art, where his love of art began. At 18, in 1940, Stettner enlisted in the United States army and became a combat photographer in Europe for the Signal Corps. After a brief stint in Europe he was sent to New Guinea, the Philippines, and Japan. Back from the war Stettner joined the Photo League in New York. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the Institut des Hautes Études Cinématographiques in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York. Stettner's professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organize an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Robert Doisneau, George Brassaï, Edouard Boubat, Izis, and Willy Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had a significant influence on his work. In 1949, Stettner had his first exhibition at the Salon des Indépendants at the Bibliothèque Nationale de France, Paris. Brassaï showed me that it was possible to find something significant in photographing subjects in everyday life doing ordinary things by interpreting them in your own way and with your own personal vision. -- Louis Stettner In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he freelanced for Time Magazine, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era—Strand had been a founder of the Photo League that would be blacklisted and then banned during those years. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. In his own work, Stettner focused on documenting the lives of the working class in both Paris and New York. He felt that the cities belong to the people who live there, not to tourists or visitors. His upbringing caused him to take great care in capturing the simple human dignity of the working class. He also captured noteworthy architectural images of both cities, including bridges, buildings, and monuments. Stettner produced well-known images, including: Aubervilliers, Brooklyn Promenade, Twin Towers with Sea Gull, Penn Station, and the Statue of Liberty, Battery Park. In his nineties, Stettner turned to a large format camera of the dimensions used by his hero, Paul Strand; an 8×10 Deardorff in order to photograph details of the landscape of Les Alpilles in Provence where Van Gogh often painted, assisted by his wife Janet. Stettner received numerous honors, and in 1950 he was named Life's top new photographer. In 1975 he won First Prize in the Pravda World Contest. Louis Stettner’s works are posthumously managed by the Louis Stettner Estate.Source: Wikipedia
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