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Hidetoshi Ogata
Hidetoshi Ogata
Hidetoshi Ogata

Hidetoshi Ogata

Country: Japan
Birth: 1987

Hidetoshi Ogata, born in Osaka, Japan in 1987, is a Japanese photographer. After taking an MSc in Biochemistry, he visited many places around the world to photograph landscapes. His fascination with traditional Japanese fire festivals began when he was 26 and photographed the annual Yassai Hossai fire festival at his birthplace Osaka. Since then, he has travelled around Japan photographing traditional local lore about fire preserved from the past, as part of his ongoing, long-term project, "In Awe of Fire". Ogata has also been working on wild macaques and regularly visits places like Nagano prefecture, Awaji island in Hyogo, and Shodoshima island in Kagawa. He was the 13th Smithsonian Photo Contest Natural World Winner and the National Geographic Travel Photographer of the Year 2018 People's Choice nomination. His work has been recognized in various photography competitions, including the LOOK SMITHSONIAN exhibition in Shanghai, and has appeared in magazines, TV programs and Web pages throughout the world such as the Washington Post, NY Daily News, the Daily Mail, CBS, Beijing TV and TV Tokyo.

Awards: International Photography Awards (IPA) 2015 Honorable Mention
The 13th Smithsonian Photo Contest, Natural World Category, 1st Prize Winner
International Photography Awards (IPA) 2016 Honorable Mention
Outdoor Photographer of the Year 2017 Shortlist
National Geographic Travel Photographer of the Year 2018 Nature People's Choice nomination

Media: The Washington Post, USA TODAY, NY Daily News, The Daily Mirror, The Daily Mail, The Daily Telegraph, El País, CBS News, National Geographic, National Geographic Travel

Publications: Garuda Indonesia Colours December 2017
Outdoor Photographer of the Year Portfolio III

TV: BTV, Sichuan Satellite TV, TV Tokyo
Photo Exhibition: LOOK SMITHSONIAN Seoul, LOOK SMITHSONIAN Shanghai

Website

www.facebook.com/HidetoshiOgataPhotography

 

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More Great Photographers To Discover

Filip Dujardin
Filip Dujardin
Belgium
1971
Filip Dujardin is fine art and architectural photographer based in Belgium. Dujardin’s Fictions is a series of fictional structures created using a digital collaging technique from photographs of real buildings in and around Ghent, Belgium. Some of his architectural creations are structurally impossible or implausible. Some of the most intriguing buildings seem perfectly ordinary at first glance, revealing their fictional nature as the viewer registers missing or incongruous details.From www.artspace.comPhotographer Filip Dujardin designs architectural wonders in the digital realm. The Belgian artist began as a professional architectural photographer before turning to design in 2007, creating virtual buildings using Google SketchUp—a 3D modeling tool—and Photoshop. At first glance, Dujardin’s photographs of buildings seem almost ordinary, though highly modern, only revealing their structural implausibility upon close examination. He ignores the laws of physics, defying gravity and material, to create exquisite architectural compositions. Source: www.featureshoot.com
Guillermo Espinosa
Guillermo Espinosa
Spain
1985
Guillermo Espinosa is a Spanish photographer born in Madrid in 1985 and currently based in Berlin. He studied Graphic arts and wine making in Madrid. He started in photography around 7 years ago, making pictures in the streets of Madrid with an old reflex camera. Later on he moved to Germany to work as a waiter. It was then when he saw the potential of street photography as a way to grow personally and escape from the routine. Since then he has combined his job as a waiter with some jobs related to photography such as Cruiseship photographer or photographer for a german decoration shop. He is currently involved in a few ongoing street photography projects in the city of Berlin. Statement My artwork is about the relation between the human being and the public enviroment, searching for the insual in the usual or mundane. Trying to find candid moments in the dalily life using what the enviroment gives me, such a light, subjects, geometry, etc. Another distinguising feature is the friction created by the layers (physical or conceptual). I have been always attracted by the contrasts that happen in everyday life, the juxtaposition in any "normal" situation that can create many humoristic, visual or critic lectures. Even a frontal shot of a character on the street can be read in many different ways depending on the viewer, place or epoque. My main aproach is to create a connection with the viewer that can go beyond the aesthetics, making an image more than a 2D object that comfrontes the previous concept of the daily life
Gregory Crewdson
Gregory Crewdson
United States
1962
Gregory Crewdson (born September 26, 1962) is an American photographer who is best known for elaborately staged scenes of American homes and neighborhoods. Crewdson was born in the Park Slope neighborhood of Brooklyn, NY. He attended John Dewey High School, graduating early. As a teenager, he was part of a punk rock group called The Speedies that hit the New York scene in selling out shows all over town. Their hit song "Let Me Take Your Photo" proved to be prophetic to what Crewdson would become later in life. In 2005, Hewlett Packard used the song in advertisements to promote its digital cameras. In the mid 1980s, Crewdson studied photography at SUNY Purchase, near Port Chester, NY. He received his Master of Fine Arts from Yale University. He has taught at Sarah Lawrence, Cooper Union, Vassar College, and Yale University where he has been on the faculty since 1993. He is now a professor at the Yale University School of Art. In 2012, he was the subject of the feature documentary film Gregory Crewdson: Brief Encounters. Gregory Crewdson is represented by Gagosian Gallery worldwide and by White Cube Gallery in London. Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are elaborately staged and lit using crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques. He has cited the films Vertigo, The Night of the Hunter, Close Encounters of the Third Kind, Blue Velvet, and Safe as having influenced his style, as well as the painter Edward Hopper and photographer Diane Arbus. Crewdson’s photography became a convoluted mix between his formal photography education and his experimentation with the ethereal perspective of life and death, a transcending mix of lively pigmentation and morbid details within a traditional suburbia setting. Crewdson was unknowingly in the making of the Pleasures and Terrors of Domestic Comfort exhibition of the Museum of Modern Art, earning him a following both from his previous educators and what would become his future agents and promoters of his work. The grotesque yet beautifully created scenes were just the beginning of Crewdson’s work, all affected with the same narrative mystery he was so inspired by in his childhood and keen eye for the surreal within the regular. Fireflies, has become a standout amongst his collections known for their heightened emotion and drama compared to its simplicity of color and spontaneity. the exploration of form within his own work was evident within his transformation of how the photo was taken rather than just focusing on the subject. Source: Wikipedia
Joseph Podlesnik
Joseph Podlesnik
United States
1959
Joseph Podlesnik holds a BFA in drawing and painting from the University of Wisconsin-Milwaukee and an MFA in drawing and painting from Cornell University. He currently serves as Adjunct Faculty (online) for the Stockton University Visual Arts Program and Facilitator Lead for the Digital Photography Cornell Certificate Program. Podlesnik exhibits his photographs singly and in group shows, nationally and internationally. He resides in Phoenix, AZ. For Podlesnik, the camera lens depicts perspective too easily, which is why he captures and makes photographs which often frustrate readable perspectival space. For him, the photographic image is not only a window through which to see the visible world, but also a maker of flat surfaces which stunt or block logical space. He sees photography and pictures not only as documentation, but as commenting on or reenacting perception itself. The Pain, Boredom and Euphoria of Looking For the “The Pain, Boredom and Euphoria of Looking” exhibition, my intent is to select color and black and white photographs which involve some personal physical discomfort (while capturing the photographs), degrees of boredom (tolerating, organizing, and capturing a world full of redundant visual information) and the thrill and euphoria I experience while capturing photographs and exploring their effects in post- processing. The intent is to arrive at formal order, unity, mood, complexity, ambiguity, and in many cases engage the viewer in frame edge-to-frame edge visual activity.
Artur Nikodem
Artur Nikodem
Austria
1870 | † 1940
Artur Nikodem (1870-1940) was born in Trent, Austria. As a young man, Nikodem studied at the Academy of Fine Arts in Munich, Milan and Florence. He then served in the Austrian Navy before settling briefly in Paris, where he was strongly influenced by the works of Monet and Cezanne. Awestruck by the ability of pigment to rearrange and restructure life on canvas, Nikodem began his endeavors as a painter. His burgeoning artistic career was delayed by military service during World War I. After the war, Nikodem returned to his home in Innsbruck where he began work as a freelance artist. He agreed to test cameras and film for a friend who sold photographic supplies, privately pursuing this means of artistic expression. The modest size and intimate subject matter of these photographs provides a window into the artist's life and mind. After a series of successful international exhibitions, Nikodem emerged as a spokesman for Tyrolean artists. As Nikodem grew older, the changing political climate resulted in his paintings being outlawed in Germany and part of the collection in Nuremberg was destroyed. Unable to secure a teaching position at the Viennese Academy, Nikodem withdrew from public life and lived in seclusion with his wife, Barbara Hoyer, until his death in 1940. Nikodem's photographs were not exhibited or discussed outside of the studio until after his death. Although he worked as a painter for the bulk of his artistic career, he was also a prolific photographer, documenting the small towns and pastoral beauty of the Austrian countryside as well as the women in his life. Nikodem captures these women, his models and lovers, including Gunda Wiese - who died of tuberculosis - and his wife Barbara Hoyer. These sensual portraits portray the erotic tension between the older artist and his much younger subjects. Artur Nikodem's portraits have invited comparison to the paintings of Egon Schiele and the series of photographs by Alfred Stieglitz of Georgia O'Keefe, similarly characterized by both playful experimentation and somber meditation. Source: Robert Mann Gallery
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
Ralph Milewski
Ralph Milewski
Germany
1968
My name is Ralph Milewski, and I am a passionate photographer from Germany. Born with Limb-Girdle Muscular Dystrophy (LGMD), despite significant physical limitations, I have found my creative voice. My photographic journey is marked by the fixed positioning of my camera between my legs, just 27 inches above the ground. Photography, for me, is not just a creative passion but a window to art and self-expression. As an introverted individual with a strong curiosity for people and their stories, I find in photography a unique way to simultaneously create intimacy and distance. The camera, my tool of choice, becomes the medium that strengthens my self-confidence and elevates my self-worth. Despite moments of frustration and grappling with my own limits, photography motivates me to creatively transcend my physical constraints and achieve extraordinary results. My work not only provides insights into my world from an unconventional perspective but also invites a reevaluation of existing perceptions. Photography, for me, is more than a visual medium; it keeps my mind alert and inspires me to develop bold ideas, even if their realization often relies on support. Photography compels me out of my comfort zone, helps me overcome social anxieties, and facilitates the forging of new connections. My view of the world through the lens is unique and perhaps exactly what can enrich your photo project. I invite you to consider my photography as a contribution to your project, not out of pity for my disability, but as an enrichment through a distinctive perspective and the creative process that I infuse into each image. Rear Seat Diaries: The series "Perspectives in Motion" is derived from my "Rear Seat Diaries," captured from a moving car – my wheelchair-accessible VW Caddy with a rear ramp. Let me briefly explain the unique setting of these window shots: I sit in my electric wheelchair at the back of my Caddy, facing forward. Until recently, the camera was always fixed on a tripod (gooseneck) attached to my wheelchair, positioned higher in the car to be at eye level with the window. I now use a mini-tripod, which I can position in my left hand, supported on my wheelchair. The camera is positioned at a right angle to me, aimed at the side window of the Caddy. The camera was adjusted and set before the trip began. Due to my physical limitations, I couldn't operate the camera in this elevated position directly. With the mini-tripod, I can now adjust the camera settings during the ride. I trigger the shots via remote control. I can only see the camera display sideways in my field of view, as it is flipped up 180°. The shots are taken while driving. Since the wheelchair is not firmly connected to the vehicle, it is subjected to stronger vibrations and centrifugal forces. Overall, it's a pretty bumpy affair. The idea for this project gradually developed out of necessity. If I could lift my arms like any other person, this series probably wouldn't have come about in this form. From my elevated position in the car, I can only visually capture a small part of the surroundings. I can turn my head slightly left and right but cannot move my shoulders or the wheelchair in the desired direction. Photographing from a moving car proved challenging, especially with a phone and a selfie stick. The results were unsatisfactory as the car window frame was always partially and never fully in the picture. The actual development began on the way to Spain in 2022, when I tried to dedicate photos of his hometown Lyon to a street photographer friend while passing through. Despite improvements to the selfie stick's position, there were still limitations. A few months later, I began photographing my hometown this way. By chance, I moved the phone further away from the car window. Upon later review, I noticed some pictures had the entire window frame as a frame. This caught my attention when I manually corrected the perspective with Lightroom in early February 2023. Since then, I have been continuously working on optimizing and further developing this project. Using an APS-C camera with an extended tripod attached to the wheelchair brought new insights. The mini-tripod and the ability to now change camera settings during the ride have sparked a creative boost. Despite challenges such as reflections, unwanted mirror images, sunlight, and disruptive elements like smeared or rainy windows affecting autofocus. Manual focusing is impossible as I can operate the camera very limitedly, and the subject constantly changes while driving. A self-built shading device now minimizes some reflections. However, there are still difficulties with backlighting and dirt on the windows. The "Rear Seat Diaries" present a diverse mix of my travels and experiences. I invite people to explore this unique perspective and see the world through my windows. It has long become an ongoing project, constantly being developed. Most of the shots are taken during my everyday trips, like drives to the grocery store or the doctor. Occasionally, I make specific trips just for photography. Targeted subject selection requires a lot of planning and time, especially since I need someone willing to drive me when I want to. The compiled images include beginnings with the phone, first steps, and the development with an APS-C camera, up to the latest attempts within the "Rear Seat Diaries" series to create intentional blur in the foreground through motion effects using extended exposure times. This approach aims to depict the outer environment in dynamic blur while keeping the subframe, the interior of the car, deliberately sharp. The challenge lies in the unavoidable vibrations caused by the vehicle while driving, complicating this endeavor. Nevertheless, longer exposure times are deliberately experimented with to add a dynamic and artistic dimension to the images.
Elisa Migda
Elisa Migda
France
1981
Graduated from the Sorbonne and the University Paris X in Literature, Human Sciences and Visual Anthropology (Formation de Recherches Cinématographiques created by Jean Rouch) after studying photography, video and graphic design, she joined the International photojournalism festival Visa pour l'Image Perpignan in communication and coordination. In 2016, she is also responsible for the creation of the art book fair FILAF ARTBOOK FAIR within the FILAF festival as well as the curating of the exhibitions A L'Italia by Carine Brancowitz and Before Landing by Michel Houellebecq in Perpignan. Passionate about film photography but also after having assisted various fashion and reportage photographers and contributed to various audiovisual creations, she decided to join a traditional photography laboratory in Paris, which offers more particularly the realization of large formats in order to revive the practice of printing and its processes. Eighteen months ago, she set up her own laboratory in Seine et Marne in order to carry out a more experimental and personal photographic work, that she has been pursuing for about fifteen years. In 2019, she participates in the group exhibition Le Rêve d'un mouvement in Paris with Gilles Roudière, Damien Daufresne, Stéphane Charpentier, Grégory Dargent, Frédéric D. Oberland and Gaël Bonnefon and presents her solo exhibition Sweet Surrender in Arles during the month of July with the Bergger group. Statement "My photographic work is long-term and develops around a personal project: to capture images that revolve around my life, intimate experiences and, from these photographic episodes were born portraits, self-portraits, imprints of existence. It is an abandonment where bodies and faces waver in obscure clarity, plunge into dazzle, navigate between interior and exterior spaces, loneliness and erasure from the world. In this universe, a feeling of sweet melancholy often emerges around themes such as energy, destruction, dealing with both the eternal and the ephemeral, disappearance and metamorphosis. These are trembling moments, a collection of images with fleeting, spectral visions, sprinkled with imperfections just as in our daily lives or in our dreams. There remains a disturbing strangeness, a subjective territory, trying and pensive, where the eyes are closed, frozen, elusive..." -- Elisa Migda
Lala Deen Dayal
Lala Deen Dayal
India
1844 | † 1905
Lala Deen Dayal, (famously known as Raja Deen Dayal) born in 1844 in Sardhana, Uttar Pradesh, is revered as one of India's most influential photographers. His journey into photography began after he completed his education in engineering at Thomason College of Civil Engineering (now IIT Roorkee). Initially working as a draftsman for the Public Works Department, Deen Dayal's interest in photography soon turned into a passionate pursuit, transforming him into a pioneer of the craft in India. In the late 19th century, when photography was still a nascent field, Deen Dayal's talent quickly garnered attention. He established his first studio in Indore, gaining the patronage of Maharaja Tukoji Rao II. His reputation for capturing intricate details and the essence of Indian life, architecture, and landscapes soon spread, leading to numerous commissions from Indian royalty and British officials. This period marked the beginning of his illustrious career, during which he documented India's rich cultural heritage with a distinctive artistic vision. Deen Dayal's photographic expertise reached new heights when he was appointed the court photographer for the sixth Nizam of Hyderabad, Mahbub Ali Pasha, in 1885. This prestigious position allowed him unparalleled access to the royal family and their opulent lifestyle. His photographs from this era are renowned for their exquisite composition and detail, providing a rare glimpse into the grandeur of princely India. Deen Dayal's work from this period includes portraits, architectural studies, and documentation of royal ceremonies, all characterized by their meticulous attention to detail. Throughout his career, Deen Dayal's contributions to photography extended beyond his royal commissions. He established studios in Mumbai, Indore, and Hyderabad, training a generation of Indian photographers and expanding the reach of professional photography in the country. His innovative techniques and commitment to quality earned him international recognition. In 1897, he was awarded the Royal Warrant by Queen Victoria, a testament to his exceptional skill and the impact of his work on a global scale. Lala Deen Dayal passed away in 1905, but his legacy endures through his extensive body of work that continues to be celebrated for its historical and artistic significance. His photographs are invaluable records of India's architectural and cultural history, capturing the essence of a bygone era with clarity and depth. Deen Dayal's pioneering spirit and dedication to his craft have left an indelible mark on the history of photography, establishing him as a true trailblazer in the field. His work remains a source of inspiration for photographers and historians alike, preserving the rich tapestry of 19th-century India for future generations.
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Call for Entries
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