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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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More Great Photographers To Discover

Piotr Zbierski
Piotr Zbierski studied photography at National Film School. Author of three individual exhibitions (White Elephants, Here, Love has to be reinvented), a participant in collective exhibitions and publications including Photokina and Lab East. He presented his works in many countries like Poland, Germany, Portugal, Russia, Slovakia. As well as magazines (Shots Magazine, Ninja Mag, Archivo Zine, Die Nacht, Gup Magazine). In 2012 he won the prestigious prize for young photographer Leica Oscar Barnack Newcomer Award. His work was nominated to Deutsche Börse Photography Prize and has been shortlisted in many other prizes (Les Nuits Photographiques 2012, Terry O’Neill Award) for his series Pass by me. His works has been shown at Rencontres Internationales de la Photographie in Arles 2012 and are in collection of Kiyosato Museum of Photographic Arts. He lives and works in Lodz. About Love has to be reinvented "The series 'Love has to be reinvented' began in 2012 and its starting point was not an image but my personal experience, which changed my view and redefined my opinion on many issues. At the same time, it is neither my diary nor any personal document; recently such a name is given to whatever cannot be named. Titles of my series are just mottos for my creative works at their particular stages. Words are created by letters in the alphabet, which is a matter of convention depending on the culture. I build my series out of emotions, which are a biological fact, they are unquestionable. The key objective I identify for myself is the availability of a feeling. I really want the person looking at my photographs to experience something more and not just say whether photographs are good or bad. Photography does not begin with an image, it does not end with an image, either; I put on authenticity, and not on originality. An image is a form of communication of a higher art form, which is life itself. I took the title from the French poet, Artur Rimbaud, who wrote these words and expressed criticism of France and times he lived in about a hundred years ago. I returned to these words because I think the world has not changed so much, and I criticize a contemporary world, which has gone in the wrong direction, in my opinion. And I do not mean people but structures built around the castle, which the book hero has never reached. A major objective of my work is to get through to the essence of human emotions, to their purest form with no additions, no gadgets. To show a man in the way he has been created, a man from a primeval village. In a contemporary world, such an image may be created using a certain type of imagination because we are very far away from such a status quo; therefore, my work is reality-based but it is not the reality itself. It is an attempt to invoke and depict certain human impulses with full acceptance of their inherent contradictions. Like love: it is as full of adoration as hatred; a day could not exist without a night. I will finish this three-year series in spring 2015 during the total solar eclipse, which can be observed in Iceland. It is a characteristic clamp for my creative work in which I start from a personal, private and single experience at the very beginning, and come through an image to a part, which is common for us all, and independent of me. A macro-scale has its reflection in a micro scale while a normal scale, in which we live in, is its pulsating reflection. To follow theories of contemporary scientists, only a ballet dancer may be smaller, and on a macro-scale - a multiple universe. Life is a film directed by the universe while the world is the largest accumulation of sensually available metaphors, a secret in secret or a metaphor in a metaphor. Rimbaud has also written that eternity is skies mixed with water; quite right: black and white, grey on grey; in a child's drawing huge blue and objectively sacred transparency. In my opinion, there is one reality and infinitely many visions. To sum it up as simple as I can: if the world is a tree growing more and more branches (metaphors), then life is the fruit. While love is the juice of various tastes in the same way as the resin is what a tree uses for weeping. All this happens in the surroundings of eternal gases where toxic ones come away leaving space to healthy ones. Rootstocks and roots grow expanding in the same way. Who are people then?Undoubtedly, they are savages from a primeval village who have learned what a real taste of love is: they adored each other at the expense of "god's" hatred, they are Adam and Eve. It is only owing to such a full image of love that new generations could come into existence. I also invite to see the video work titled "Lodz", in which I develop motifs I have earlier discussed. Another continuing video is in progress. The bottomless source is RGB without DNA." - Piotr Zbierski
Marie-Laure Vareilles
- Testify to the variety of cultures on our planet.Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILOAll about Marie Laure Vareilles:AAP: When did you realize you wanted to be a photographer?It was not my dream.AAP:Do you have a mentor?I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.AAP: How long have you been a photographer?I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.AAP: What or who inspires you? Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.AAP: How could you describe your style?I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.AAP: What kind of gear do you use? Camera, lens, digital, film?Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.AAP: Do you spend a lot of time editing your images?Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !AAP: Favorite(s) photographer(s)?They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.AAP: Your best memory has a photographer?I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!AAP: Your worst souvenir has a photographer?I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.
Carolyn Hampton
United States
Tracy Burke
United States
1964
Tracy Burke is a visual artist whose practice examines nature as humanity's salvation. Working primarily through photography, she explores places that remain essentially untamed despite their public accessibility, investigating human engagement with the natural world and its profoundly positive psychological, emotional, and physical effects. Burke received her BA in History from Yale University, where she served as editor and publisher of Black and White: The Yale Undergraduate Photography Review. She later earned a master's degree in clinical social work from Smith College. After a transformative three-month wilderness experience at age 22 that fundamentally shifted her understanding of what gives life meaning, Burke initially set aside photography, feeling unable to capture the profound impact of the natural world through her lens. She returned to the medium years later while documenting family outings to national parks, recognizing that these images transcended family snapshots to become powerful artistic statements about human connection to the natural world. Burke's work has been exhibited at the Colorado Photographic Arts Center in Denver and the Dairy Arts Center in Boulder, Colorado. Her photographs have been published in Lenscratch and included in online exhibitions with the Center for Fine Art Photography in Fort Collins, Colorado, and PhotoPlace Gallery in Vermont. Her work is held in numerous private collections. She lives and works in Boulder, Colorado. AAP Magazine AAP Magazine 54 Nature
Denis Church
United States
1949
I grew up on an Iowa (USA) farm and drove trucks, tractors, and heavy machinery at a very young age. I loved being out in the weather and open-air fields. One of my earliest memories is riding with my parents when they took a drive to look at area agricultural crops freshly planted and growing in the springtime. These trips inspired my current desire to make car trips to see the world. I studied psychology and sociology in college and was planning a career as a counseling psychologist. These experiences formed my inclination to photograph in public outdoor areas and investigate how the world is “painted and put together”. I acquired a very good expensive camera on a total whim a long time ago, and something radical shifted for me. I left graduate school six credits shy of a master’s degree to pursue the art of photography, which I intuitively felt was my path to truth, instead of the science. I have held many jobs: farm hand, gas station attendant, auto dealer parts manager, car salesman, government employee in two different states, free-lance commercial photographer, real estate investor, landlord, property developer, and photography instructor. Photography has been my main energizing activity for fifty years, for both commercial clients and for myself, pursuing and refining my personal vision of the world. My photographic aesthetic is based on observational street/documentary photography. I currently have several self-assigned documentary projects that I am pursuing. My interest is producing photo-books as a depository for my work, that have availability to future generations. AMERICOLOR - Exploring Urban Color Fields The series or project is a retrospective look at my work from 2007 to 2024. I saw a large exhibition of Color Field painters in early 2024 at The NSU Art Museum Fort Lauderdale, Florida. A painting by Frank Stella particularly enthralled me and I was puzzled why it had such a strong hold on me. A few days later while I was editing photographs I came across my photograph, Bonita Springs, Florida 2012, and I immediately felt a connection and the reason why the Stella painting was so entrancing. I found that many of my photographs have a similar feel with layered subjects and a planar feel: some more, some less. I decided to edit a group of photographs into a book paying homage to the color field painters, therefore my title, AMERICOLOR: Exploring Urban Color Fields. Recently in 2024, I published this book in collaboration with Palm Beach Atlantic University where I also presented an exhibition of about one third of the 116 photographs in the book.
Cole Weston
United States
1919
Cole Weston, born on January 30, 1919 in Los Angeles, was the fourth and youngest son of famed 20th Century photographer, Edward Henry Weston. Cole received his first camera, a 4 by 5 Autograflex, from his brother Brett in 1935. Cole graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and then served in the Navy during World War II as a welder and photographer. After his discharge from the Navy in 1945 Cole worked for Life Magazine. In 1946 he moved to Carmel to assist his father Edward. During this time Eastman Kodak started sending their new color film, Kodachrome, for Edward to try out. Cole took this opportunity to experiment with this new medium and eventually became one of the world’s great masters of fine art color photography. In 1957 Cole began shooting his first color photographs of the magnificent Big Sur coast, Monterey Peninsula and central California. At this time he carried on his own portrait business while assisting his ailing father, who passed away in 1958. Edward had authorized Cole to print from Edward’s negatives after his death, so Cole continued printing Edward’s work while pursuing his own fine art photography. In 1975 Cole began lecturing and conducting workshops on his father’s photography as well as his own. With his work in the theater arts Cole was a natural when it came to teaching and lecturing and his many students still comment on what a great workshop he gave. He traveled throughout the United States, England, Europe, Russia, Mexico, New Zealand and the South Pacific photographing and inspiring others with his characteristic enthusiasm and charm. In 1988 after three decades devoted to printing his father’s work, Cole at last set aside his responsibility to Edward’s legacy and refocused on his own photography. Cole had his first solo exhibition in San Francisco in 1971. Since then, his work has been featured in more than sixty exhibitions worldwide and has been collected by museums throughout the United States and Europe. His work has been featured in numerous gallery shows and publications with three monographs and numerous articles having been published on his exquisite photography. Michael Hoffman from Aperture Publications once quoted, “In the history of photography there are but a few masters of color photography, Cole Weston is assuredly one of these masters of the medium whose dramatic powerful images are a source of great joy and pleasure”. Cole passed away from natural causes on April 20th, 2003. Like Cole, who once carried on the legacy of his father’s photography, his children have decided, as a tribute to their father, to carry on printing and offer Trust prints of Cole’s fine color photographs. Cole Weston was a dedicated artist and master of fine photography. Hopefully the availability of modern prints will make it possible for photographic enthusiasts everywhere to continue to enjoy his life’s work.
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