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Cathleen Naundorf
Cathleen Naundorf
Cathleen Naundorf

Cathleen Naundorf

Country: France/Germany

Cathleen Naundorf is a French German photographer. In the late 1980s, she graduated from photography studies in Munich. She worked as a photo assistant in New York, Singapore and Paris in the following years, before she started traveling in 1993 to such destinations as Mongolia, Siberia, Gobi Desert and the Amazonas headwaters in Brazil. The results of these insightful pictures have been included in eight publications of renowned publishing houses. Inspired by her encounter of and longstanding friendship with Horst P. Horst, Cathleen Naundorf early on turned to fashion photography. As of 1997, she started photographing backstage Paris fashion shows for Condé Nast. Since 2005, Cathleen Naundorf has worked on her haute couture series “Un rêve de mode” focusing on seven couture houses : Chanel, Dior, Gaultier, Lacroix, Saab, Valentino and Philip Treacy. Thanks to her outstanding pictures, Cathleen Naundorf got the privilege to choose gowns from the couturiers’ archives for her elaborate and cinematic productions. This work got published in "The Polaroids of Cathleen Naundorf", Prestel Edition, 2012.

She works with large format cameras like Plaubel or Deardorff for her shootIngs and use mostly Polaroid or negative films. Cathleen Naundorf is working passionately on Haute Couture and Luxury Prêt-à-Porter. Her work got published in magazines like Harper's Bazaar, Tatler, VS Magazine or American Express.

Cathleen Naundorf's work is represented by the Hamiltons Gallery in London.

Gallery

Hamiltons Gallery

Website

www.cathleennaundorf.com

 

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Gilles Nicolet
Gilles Nicolet
France
1960
I am a self-taught photographer who spent 35 years living and working in Africa, with long stays in Somalia, West Africa and Tanzania. I started out as an agricultural engineer but soon switched to photography in order to follow an old passion. I have since shot numerous stories for all sorts of magazines, including the Sunday Times Magazine, National Geographic Magazine, Geo, the Smithsonian and Paris-Match. I have a special interest in anthropology and ethnography, something that - I hope - has helped me capture the essence of my subjects. In the past most of my stories where about rare traditions that somehow linked man and wildlife, but Africa has changed a lot in the last few decades and unfortunately most of these traditions have now disappeared. My recent work has therefore been more personal and contemplative and less focused on narrative picture stories meant for magazines. In fact, today my interest lies in the convergence between art and documentary photography. I have also moved away from color photography and now only shoot in black and white. My work has received several major awards, including a World Press Photo Award and a Fuji Award. My latest project on the Swahili Coast also obtained the following recognitions: 2017 HIPA Hamdan International Photography Awards - 2nd Prize, Portfolio Category 2017 Elliott Erwitt Havana Fellowship - Nominee 2017 Seventh Annual Exposure Photography Awards - Winner 2017 IPA International Photography Awards - 2nd Prize, People/Culture Category 2017 Meitar Award - Nominee 2017 Monochrome Photography Awards - Photojournalism/Professional - Two Honorable Mentions 2017 Monochrome Photography Awards - People/Professional - Honorable Mention 2018 CAP Contemporary African Photography Prize - Finalist 2018 SIPA Contest - Honorable Mention 2019 SOPHOT Award - Winner This work on the Swahili Coast is featured in "Swahili", a book released by Contrejour Publishers in May 2019 (available on amazon.fr and amazon.co.uk). Six degrees south The Zanzibar archipelago, an highly evocative name even for those who are quite unable to locate it on a map, lies six degrees south of the Equator. It is also the exact geographical center of the Swahili Coast, a unique physical, historical and cultural entity running from Southern Somalia to Mozambique, which first grew in the 10th century through trade with the Arab world, India and China. Gold, coconut, ebony, mangrove wood, sisal, myrrh and the infamous slave trade helped make the wealth of this region, slowly shaping it and giving it its unique present character. For a thousand years now, wooden dhows have sailed these lonely shores, with their characteristic white cotton sails, using the monsoon winds to help traders move goods between Africa and Arabia. And for a thousand years too, fishermen have ploughed these rich seas for their bounty of fish, contributing with the traders to the emergence of rich city-ports like Stone Town or Mombasa. But all of this is changing now. A combination of overfishing by both local and foreign ships, population increase, changes in weather patterns as well as the recent discovery of huge gas fields in the region, is threatening this fragile equilibrium. The fishing communities that occupy these shores are particularly at risk, and it could be that we are now witnessing the last of fishing and sailing traditions that had remained largely unchanged since Ibn Battuta, the famous 12th Century Arab explorer, first described them in his travel memoirs. With this recent work I have tried to testify to the unique beauty and timelessness of the Swahili Coast, and to record it for generations to come. It is a personal, melancholic, sometimes dreamy vision of a place and a culture that are very dear to my heart but which, I now realise, may soon disappear.
Simpson Kalisher
Simpson Kalisher
United States
1926
Simpson Kalisher is an influential documentary and street photographer from the United States. Kalisher, who was born on August 12, 1926, in Brooklyn, New York, developed an early interest in photography. In the 1950s, he began his career as a freelancer, capturing the vibrancy and energy of New York City. Kalisher's photographs frequently depicted everyday life, with an emphasis on the human condition and the diverse experiences of people he met on the streets. His photographs were distinguished by their intimacy and candidness, capturing fleeting moments and emotions with honesty and empathy. Kalisher joined Magnum Photos, a prestigious cooperative agency for photojournalists, in the 1960s, and his work quickly gained recognition and acclaim. He covered a wide range of topics, such as civil rights marches, political rallies, and America's changing social landscape. Kalisher's photographs reflected the era's turmoil and resilience, serving as a visual commentary on the pressing issues of the day. Kalisher excelled at portraiture in addition to his documentary work. He photographed famous people like Martin Luther King Jr., John F. Kennedy, and Marilyn Monroe, capturing their essence and providing a deeper understanding of their personalities. Kalisher's work was shown in numerous galleries and museums throughout his career, including the Museum of Modern Art in New York City. His photographs were published in a variety of magazines and books, establishing him as a master storyteller through the lens. Railroad Men: A Book of Photographs and Collected Stories, published in 1961 by Kalisher, contained 44 duotone plates of men at work on trains and in railway yards during a period of decline for that mode of transportation. He self-funded the project and used a Leica camera and tape recorder. The photographs were accompanied by 44 interviews that the photographer recorded. The series has been widely exhibited and is held in the collections of several major American museums. Kalisher published two more photographic books after Railroad Men, Propaganda and Other Photographs (1976), in which Ian Jeffrey describes the photographer as "a specialist observer of urban alienation and, like Diane Arbus, a brutal parodist of pictorial stereotypes" and The Alienated Photographer (2011), the contents of which were also displayed.
Maren Elize Klemp
Maren Elize Klemp
Norway
"I grew up in a small town outside of Oslo, and started photography when I was a teenager. My father bought me my first camera when I was seventeen, and I immediately knew that I wanted to become a photographer. Writing was one of my passions in this period of my life, but I also was searching for a way to express myself visually. I had no talent for either painting and drawing, so photography naturally became the right medium for me. Unfortunately I dropped out of high school, but was lucky enough to be offered an internship as a photographer in the local newspaper. I learned a lot during this period, but I quickly discovered that I was most drawn to the field of fine art photography rather than photo journalism. After about six moths in the newspaper I started to study fine art photography under professor Robert Meyer at Robert Meyer Kunsthøgskole in Oslo, and I have been a fine art photographer ever since. In 2014 I traveled to Charleston, South Carolina to work on my first book together with photographer and professor, Jose' Escobar. He discovered my work on Flickr, and asked if I wanted to collaborate on a book project. The book is called 'Between Intervals' and is a visual representation of conditions people suffering from mental illness can experience. My work has also been shown both in solo and group exhibitions in Oslo, Norway."
Inge Morath
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
Kourtney Roy
Kourtney Roy
Canada
1981
Roy (b.1981) was born in the wilderness of Northern Ontario, Canada. She holds a degree in media studies specializing in photography from the Emily Carr University of Art and Design in Vancouver, Canada. Roy is currently based in Paris, France, where she has been exhibiting her work nationally and internationally for over 10 years at such events and venues as Le Bal, Paris, the Musée Elysée, Lausanne, The Head On Photo Festival in Sydney and the Moscow International Photo Biennale. Kourtney Roy's work is bound up in an ambiguous and cinematic image-making that borders the real and the fantastic. Her approach to photography provokes contemplation and reconfiguration of common place subjects via playful revelation of the bizarre and the uncanny. She is fascinated with exploring the boundaries of liminal spaces; whether spatial, temporal or psychological. By using herself as the principal subject in her work, the artist creates a compelling, intimate universe inhabited by a multitude of diverse characters that explore these enigmatic themes. She has been the recipient of numerous awards and grants, including the Prix Picto (2007), Emily Award (2012), Carte Blanche PMU (2013), The Prix Elysée Nomination (2014) and The Canadian Council for the Arts artist grant (2015). Several books have been published on her work, including Ils pensent déjà que je suis folle (Editions Filigranes, 2014), California (Editions Louis Vuitton, 2016) and The Tourist (Editions La Pionnière, 2020). Source: www.kourtneyroy.com Roy has produced several series which all share the artist’s bold and cinematic aesthetic. Staged in laundrettes, motels, supermarkets and various other banal locations Roy creates hyper-realistic images that resemble film stills. Throughout her work Roy plays with ideas of the bizarre and the uncanny, whether it be a lone female figure walking along a deserted road in a vast landscape or a woman photographed through the wing mirror of a car, Roy’s photographs are permeated with an unsettling air. In her work Roy creates familiar still images of stereotyped heroines, using herself as the model Roy invents numerous characters for herself. This is a crucial element to her work, Roy has stated “It’s usually the male gaze, and the woman is the object to be looked at. So the idea was becoming the person who objectifies, but also objectifying myself. I just thought it was interesting to play the dual role.” Source: Huxley-Parlour The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Kourtney Roy's photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life. Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018. In 2019 she won best experimental film at the Brest European Short Film Festival with her dark and dreamy piece, Morning, Vegas. Roy’s work has been exhibited widely in France, but also abroad. She has been seen at the Planche(s) Contact Festival in Deauville in 2012, The Portraits Festival in Vichy in 2015 and at Le Bal in 2014 and a solo show at Paris Photo in 2018, among other events and venues. Internationally Kourtney Roy’s photography has been featured at exhibitions in China, as well as Italy, Switzerland, The United States, Australia, the Moscow Photo Biennale in 2017 and at the Incadaqués International Photo Festival in Spain in 2019. Roy has also released several publications on her work including an accompanying artist book to Le Bal’s exhibition Ils pensent déjà que je suis folle and an artist’s book Enter as Fiction, both published by Filigrane Editions, as well as Northern Noir published by Editions La Pionnière. California is edited by Editions Louis Vuitton and was released in 2016 and her latest publication, The Tourist, is published by André Frère Editions and was released in November 2020.Source: Jackson Fine Art
Thomas Eakins
Thomas Eakins
United States
1844 | † 1916
Thomas Cowperthwait Eakins (July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons. In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing-room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Thomas Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. No less important in Eakins' life was his work as a teacher. As an instructor, he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in the nineteenth and early-twentieth-century American art". Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Thomas Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Thomas Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Thomas Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Thomas Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called Naked Series, which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model. Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. Thomas Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests. Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars. Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia. In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior. Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student.Source: Wikipedia
Pietro Di Giambattista
Pietro Di Giambattista
Italy
1956
Pietro Di Giambattista is a documentary photographer and visual artist who lives and works in Rome. His interests are particularly focused on photography with socio-cultural themes and conceptual photography. He is currently also dedicating himself to Street Photography in the city of Rome. Pietro Di Giambattista has also worked for over twenty years on his long-term project on the Gypsies communities of Rome, named “Romani People”. Pietro Di Giambattista has won numerous national and international awards and in 2002 he was third in the portrait section at the prestigious World Press Photo. Romani People This project has been carried out since 1999, both in the old camps– where people lived in extreme conditions, with no water and no electricity – and in the new camps– which are legally authorised, and where different ethnic and religious groups cohabit together. We are living in a moment of disconcerting approval of hateful feelings which result in stigmatizations, hostile statements, incitement to discrimination of the other, within a climate whichissadlyfostered by some of the highest institutional offices.Roma and Sinti are privileged victims. People still cannot dominate the inclination to deal with the uncertainty in life by finding an enemy, a culprit that could be blamed for one’s problems.Roma are the victims of century-long prejudices: they are child kidnappers, vagrants, lazy; theft runs in their blood, they force their children to beg… In 2008 a survey by S. Tosi Cambini, La ZingaraRapitrice(The Gipsy Kidnapper)was published,where the verdicts of Italian trials over ten years were examined.It was demonstrated that no missing child has ever been found in a travellers’ camp. Besides, to consider them as nomads is misleading, as they have not led an itinerant life for generations. Begging is almost exclusively practiced by women and children, who are proud to contribute to the support of the family. Today in Italy, 85% of the 180 thousand Roma people live in houses, have a job, pay the rent and are integrated. But the image that is used to represent this ethnic group is that of the Roma people who live in camps, dressed in rags, dirty and scroungy - only 26 thousand, 0,04% of the entire Italian population. Instead of a loud airing of views for mere propaganda purposes, we shouldseriously cope with these camps, real ghettoes where a hideous form of racial segregation is carried out – a purulent wound in the conscience of a country that claims civilization.
Bence Mate
Bence Mate
Hungary
1985
A wildlife photographer, born in Hungary, 1985. In 2010 he won the prestigious BBC Wildlife Photography of the Year award in London. He is the most effective photographer in the 53-year-old history of the competition, being the only contestant winning the first prize in both the young and adult categories. In 2005 he experimented the one-way glass photography technique, making fundamental changes in hide photography practice. This technique has been widely used all over the world, and most hides are equipped with such glasses. Since 2008 he has been designing wildlife photography hides in different parts of the world (Hungary, Costa Rica, Brazil, Norway, South-Africa and Transylvania, Romania). His enterprise operating in Hungary welcomes photographers with the most exclusive hides in the world. Books: The Invisible Wildlife Photographer (English, Hungarian), The Handbook of Bird Photography (Markus Varesvuo, Jari Peltomäki, Bence Máté; English, German, Finnish, French). Statement "A great wildlife photo is technically perfect, innovative, and unrepeatable. It is a genuine reflection of what took place, and the subjects must be able to move around as they wish. Whilst Photoshop can be used to enhance an image, the sole goal of post-production should be to reflect reality in the most accurate way possible." -- Bence Mate
Dmitry Ageev
Dmitry Ageev
Russia
1983
Born in Russia in 1983, Dmitry Ageev is one of the biggest names in the international photographic portrait, winning awards such as Hasselblad masters in 2014. His work shows a profound knowledge of light, and is mostly recognizable by the natural look of his portraits. Dmitry Ageev lives and works in Krasnodar. He states at his website that photography its not just about a work but also a way of living. Ageev is professionally dedicated to photography and his private photography school.
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American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
Interview
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
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Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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