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Marcin Owczarek
Marcin Owczarek
Marcin Owczarek

Marcin Owczarek

Country: Poland
Birth: 1985

My art has always been focusing on condition of our globe and the condition of man. My antiutopian, critical photography is based on the anthropological research. I focus on exploring and interpreting the impact of: new technologies, bio-science, unconscious, fears, morals, social situations, behaviors, habits, rituals, biological changes, the use of animals, depression in urban envi...ronments, destruction of the soil, overpopulation, deforestation, universal famine and - over human life. As a result, I create the image of the 21 century and the image of our current society. In this way, by commenting behaviour of human individuals I want to indicate that: Man is imperfect. Man is a savage, greedy rebel of Nature, living between the insanity and lunacy, away from his true nature. Man live in the play cage because he was captured by Illusions of this world: welfare tyranny, desire of possessing material things, consumption, jealousy, hate...what all in all led him to the broken relationship with the globe and other human beings. As a result I stress the present process of dehumanization, mechanization and standardization of human race, false norms and illusional values that was given for the truth to the society by religion, governments,laws,propaganda, false mirror of the television...etc. In my opinion, nowadays it is essential to articulate this kind of behavior, because the way which the present world run, might guide the human species: firstly- into a total slavery, then to new nuclear era, and finally to the total extinction...There is number of potential scenarios, but one of them is definitely Total Extinction... I admire the way of dadaism as well as surrealism. My spirit flies with counterculture and the idea of transgression. I regard my critical collages as the prediction of human degradation, and as a consequence - 'Apocalypse'....... Many wise people said that before but I will repeat: we are responsible for this world and for other human beings, and in our hands is decision: Do we want to live in coexistence or do want to reproduce another monsters to this world who will fight against each other in another nuclear war... What are the crucial implications of this? - The world's Future. "You pays your money and you takes your choice".
Marcin Owczarek, Lier 2011

Website

marcinowczarek.wix.com

 

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Manuela Thames
Manuela Thames
German
1975
Manuela Thames is a photographic artist based in Saint Paul, Minnesota where she lives with her husband and two children. Born and raised in Germany, she moved to the US in 2004 after marrying her American husband. Her background is in nursing and alternative health, but around 2008 she began to focus solely on photography after two life changing events happened within one year, the birth of her first son and the death of her brother. Manuela uses various photographic techniques to explore themes around loss and grief, her personal experience with generational trauma, as well as the notions of belonging, connection and what it means to be human. Within that she continues to explore human ways of coping, the strength that evolves out of suffering and our common desire for healing and journey towards wholeness. Much of her work consists of black and white, conceptual self-portraits. Manuela’s photography has been described as contemplative, evocative, and cinematic and has been widely exhibited nationally as well as internationally. Her “Trauma” series won 1st place conceptual series of the year in the Monovisions Award in 2019, and in the same year she won the 13th Julia Margaret Cameron Award in the Self-Portrait Category. In addition, her work has been published online and in print in such places as Black and White Magazine, Sun Magazine, Dohdo Magazine and Shots Magazine. She teaches workshops privately and through various places such as Santa Fe Workshops, LA Center of Photography, SE Center of Photography, and offers mentoring services as well.
Ryan Kost
Ryan Kost
United States
1985
I want to sit next to a stranger and learn about their life. I’m guided by curiosity and an inheritance of wonder, drawn to those who live close to the land and move through the world with intention. As a child, maps were my portals. I spun globes, chased far-off places with my imagination, and wanted more than facts—I wanted to understand people, their rhythms, and their stories. That curiosity carried me barefoot through forests and, eventually, across the world. Based in Arvada, Colorado, I’ve spent the past 15 years working as an outdoor guide, photographer, and experiential educator, living, studying, and traveling through 70+ countries. Peru holds a particularly deep place in my heart, where I’ve led dozens of trips in the Andes, taught cultural anthropology, and continue guiding in the Cordillera Blanca and Huayhuash ranges. I hold a Master’s in Socio-Cultural Anthropology, but my greatest teachers have been the people I’ve met—those whose generosity, resilience, and connection to place continue to shape how I move through the world. Photography is the natural extension of this lifelong wonder. It allows me to slow down, listen, and become a student again—connecting story with place, and people with the land beneath their feet. I’m not chasing spectacle, but meaning: images that invite curiosity, conversation, and reverence, reminding us of our shared humanity and this vast, beautiful planet we all call home. AAP Magazine: AAP Magazine 53 Travels
John Moffat
John Moffat
United Kingdom
1819 | † 1894
John Moffat was a Scottish portrait photographer, but he also produced stereoscopic photographs. Apart from being a successful businessman, he was also an amateur painter and musician and had eight children, of whom several were as multi-talented as their father. Moffat was born on the 26 April 1819 in Aberdeen, Scotland into the family of Francis Moffat (b.1782) – a bookbinder – and Elizabeth Moffat (nee Rankin – aka Rankine). He grew up in a family of three sisters and one brother but would have had another sister and two other brothers had they not died very young before he was born. Not a lot is known about John’s childhood but his father appears to have been interested in the arts and sciences. He was also keen on education and John learnt French at school, a skill which he used later in his photographic researches. By 1847, at the age of 28, John Moffat appears in directories as having his own business as an engraver at 24 Gardiner’s Crescent, Edinburgh. He continued to advertise from that address until at least 1849. On the 19th May 1847 John married Ellen Notman (aka Helen Notman) at South Leith, Midlothian, Scotland. John’s first child, Ellen Jane Moffat, was born c 1849 according to the 1851 census when she was stated as being two years old. Ellen was also known as Nelly. She grew up to work in the photography business and was living with John in 1881 according to the census that year despite her mother and father getting a divorce many years beforehand. The census in 1851 shows John, aged 31, at 1 Windsor Street, Edinburgh with his young daughter Ellen J Moffat and a 20-year-old servant called Margaret Rae. His occupation was stated as a picture engraver master. It is almost certain that John and his wife Ellen had parted, and more probably had divorced, at this stage. On 22 June 1851 John married his second wife, Sophia Maria Knott, whose brother was the photographer James Brown Knott. John and Sophia were married in Edinburgh. Mr Kennedy / Scottish National Portrait GalleryCreative Commons CC by NC © John Moffat John Moffat started his first photographic studio in 1853 but he was still advertising his skills as an engraver from the same address in 1854; apparently, he was migrating from engraver to photographer during this period. He certainly confirmed 1853 as the date that his photography business was established by printing the fact on the reverse of his carte de visite mounts. John’s second child, and his first child with his new wife Sophia, was born in 1854 and named Frank Pelham Moffat. Frank was very involved with the family firm from the early 1870s and he eventually took over when his father died in 1894. Frank was also a fine photographer and was involved at an early stage in colour photography – probably using the Autochrome process. Another child, Sophia Elizabeth Moffat was born in 1856. She never married and lived on until the 1930s. John and Sophia had a second son, Fred (John F) Moffat, in or about 1857. Kate Rankin Moffat was born on the 30 November 1859 and remained a spinster all her life. She is said to have had an active life and embraced new ideas such as motor cars. She died in 1954 in Edinburgh. John Moffat is said to have taken a set of daguerreotype photographs of Queen Victoria and Prince Albert when they visited the Crystal Palace Exhibition in London in 1855 although the whereabouts of these photographs is not now known. The Photographic Society of Scotland was formed in March 1856 and John Moffat was an active member so he would have met many early photographers and photographic researchers including Sir David Brewster and William Henry Fox Talbot who John later photographed in his studio at 103 Princes Street in 1864. A unique Day Book is still in existence from 1856 to 1858 and contains details of the studio customers, charges, expenses and profits on a weekly basis. It also records, interestingly, details of the weather which appears to have had a significant effect on business turnover. In 1857 John went to France and eventually went to Canada to become a farmer. By 1858 John had moved his studio again to 60 Princes Street, an address that is connected to his brother-in-law James Brown Knott. At that time, the carte de visite had not become popular and John would have still been producing ambrotypes in smart little cases. Kate Rankin Moffat was born on 30 November 1859 and remained a spinster all her life. She is said to have had an active life and embraced new ideas such as motor cars. She died in 1954 in Edinburgh. Arthur Elwell Moffat was born later in 1861 and went on to be a painter in watercolour and oils as well as a musician. He exhibited on many occasions and won medals for his work. It is likely that he worked in the family business as a colourist. Arthur died in 1943. In 1861 John Moffat moved his studio again, this time further west along Princes Street to better premises at 103 Princes Street where he stayed until 1875. In the same year he became a member of the Council of the prestigious Photographic Society of Scotland. The family continued to grow when Alfred Edward Moffat was born on the 4th December 1863. Alfred became very musical and played the violin and was a musical arranger. He studied in Germany where he met a local girl and got married. Alfred died in the 1950s. John and Sophia’s last child was a daughter called Alice May Moffat. She grew up and married a prominent local businessman – James Watt – a member of the Edinburgh Stock Exchange. Unknown Man with White Beard / Scottish National Portrait GalleryCreative Commons CC by NC © John Moffat The Photographic Society of Scotland, of which John was a Council Member, was wound up in 1871 and was effectively replaced by the Edinburgh Photographic Society. John Moffat later became the President of the Edinburgh Photographic Society until shortly before his death in 1894. 1873 was a major year in the life of the Moffat photographic enterprise as John moved into a prestigious studio at 125 Princes Street. This studio was run in parallel with the one at 103 Princes Street until 1875 and then became the sole outlet until the 1920s; way after John Moffat’s death. John was a determined businessman and turned to the courts on more than one occasion. In the autumn of 1875 John Moffat took another well-known Edinburgh photographer, Robertson Ross of Ross & Pringle, to court for non-payment for photographic work carried out. He won his case. An interesting article about John’s studio appeared in the Mercantile Age on the 9th September 1887 which described a visit to 125 Princes Street. A description of the way that children were photographed was particularly interesting, as follows: "Above this room (the main studio) is another room with a stronger light than the one below, and eminently suitable for taking children’s portraits. The cameras used here have wonderfully sensitive pneumatic shutters, so instantaneous and noiseless in their action that frequently the operator can engage the attention of the sitter by some pleasing manoeuvre, and when his educated eye catches a pleasing expression, he can without moving from his position, command chemicals and old Sol to instantly do the rest before the young patron is aware of it." In a second section, the reporter comments on John Moffat’s business acumen as follows "We are please to notice that everywhere great economy is manifest. Mr. Moffat, understanding the chemistry of his trade, is successful in recovering a very great quantity of his silver. We witnessed the operation of washing and recovering, and we were altogether taken by surprise at the percentage of the chloride of silver recovered" Other comments from elsewhere also support this view that John Moffat was a canny businessman and that he was always interested in new ideas and processes. John Moffat died on the 5th. March 1894 and an obituary was printed in the British Journal of Photography in the March issue of that year. A quote from the end of the obituary is very touching – "He was ever kind and considerate to his employees and generous in his treatment of them, while, in ordinary business matters all knew him to be honourable and upright in the highest degree".Source: www.cartedevisite.co.uk
Kenro Izu
Kenro Izu
Japan
1949
Kenro Izu (b. 1949) was born in Osaka, Japan. During his studies at Nippon University, college of art, Izu visited New York in 1970 to study photography, and subsequently decided to stay and work. In 1975, after working as an assistant to other photographers, Izu established Kenro Izu Studio in New York City, to specialize in still life photography, both commercial and fine art. In 1979, Izu made his first trip to Egypt, which inspired him to begin his series Sacred Places, an exploration that is still in progress. In 1983, a platinum print by Paul Strand inspired Izu to take a step toward developing his own contact-printing process using Platinum/Palladium, using a super large format camera. Since then, all of Izu's work is produced by the same technique, mostly in a 14x20 inch format. Izu's still-life images include floral and anatomical subjects. In 2000, Izu started experimenting with a technique of Cyano over Platinum to achieve deep blue-black. The body of work entitled, Blue, was completed in 2004. As Izu continues his series, Sacred Places, he has traveled to Egypt, Syria, Jordan, England, Scotland, Mexico, France and Easter Island (Chile). More recently, he has focused on Buddhist and Hindu monuments in South East Asia: Cambodia, Burma, Indonesia, Vietnam and, most recently Bhutan and India. Izu's work has been exhibited in numerous museums including the Arthur M. Sackler Gallery of Smithsonian Institution, Kiyosato Museum of Photographic Art, Cleveland Museum of Art, Peabody/Essex Museum, Museum of Photographic Art, Rubin Museum of Art, among others. He has published several books of his work including: Sacred Places, Kenro Izu Still Life, Passage to Angkor, and Eternal Light. In 1985, after a several visit to Cambodia to photograph the Angkor Wat, Izu decided to build and operate a free pediatric hospital, and founded a not-for-profit organization, Friends Withou A Border, to help children of Cambodia who suffer from lack of medical facilities and severe poverty. The Angkor Hospital for Children, which opened in 1999 in Siem Reap , Cambodia is now an official medical education center. Izu has been the recipient of the Catskill Center for Photography Fellowship in 1992, a NEA grant in 1984, the New York Foundation for Arts grant in 1985, the Lou Stouman Award in 1999, a Guggenheim Fellowship in 2001, the Vision Award from the Center for Photography at Woodstock in 2005 and a Lucie Award in 2007. Source: Howard Greenberg Gallery
Mario Testino
Mario Testino
Peru
1954
Mario Testino is a Peruvian fashion photographer. His work has been featured in magazines such as Vogue and Vanity Fair. His career highpoint came when he was chosen by Princess Diana for her Vanity Fair photoshoot in 1997. Testino has been regularly employed by the British royal family ever since. Aaron Hicklin of The Observer described him as "the world's most prolific magazine and fashion trade photographer". His persistence in shooting Gisele Bündchen is widely credited with elevating her to supermodel status. Testino was born and grew up in Lima, the eldest son of a businessman. He was one of six children in a middle class family. When he was young he wanted to be a priest. Testino studied economics at Universidad del Pacífico. In 1976 he went to London to study photography. Living in an unconverted floor of a hospital, without much money, he funded himself by working as a waiter. He had his hair dyed pink which helped him get noticed as a photographer. He is one of six children born to an Italian father and an Irish mother. He attended the Catholic school Santa Maria Marianistas. Testino attended the Universidad del Pacifico, the Pontificia Universidad Catolica del Peru and the University of San Diego. In 1982 Testino moved permanently to London. Testino has become one of the world's most well known and celebrated fashion photographers. His work has been featured across the globe in magazines such as Vogue, Vanity Fair and V, and he has crafted and contributed to the imagery of leading fashion houses such as Burberry, Gucci, Versace, Calvin Klein, Dolce & Gabbana, Salvatore Ferragamo, Estee Lauder and Michael Kors, among others. As well as having published seven books of his work and edited one other dedicated to contemporary art and artists from his native Peru, Mario Testino has had many successful exhibitions in galleries and museums around the world. In 2002, The National Portrait Gallery in London staged the landmark exhibition “Portraits” by Mario Testino that to date remains its second most successful exhibit. For ten years it had the highest attendance of any exhibition ever to be held there. Over the next four years the exhibition went on tour to Milan, Amsterdam, Edinburgh, Tokyo, Mexico City, and Boston. Testino has also received royal commissions, including The Prince of Wales, The Duchess of Cornwall, Prince William, Prince Harry, The Duchess of Cambridge, Diana Princess of Wales, The Duke of Kent, Prince and Princess Michael of Kent, Prince Nikolaos of Greece, Prince Willem-Alexander and Maxima of the Netherlands, Prince Haakon Magnus and Princess Mette-Marit of Norway and Her Majesty Queen Rania al Abdullah of Jordan.Source: Wikipedia Mario Testino OBE is widely regarded as one of the most influential fashion and portrait photographers of our times. His photographs have been published internationally in magazines such as Vogue, V Magazine and Vanity Fair. He has contributed to the success of leading fashion and beauty houses, creating emblematic images for brands from Gucci, Burberry, Versace and Michael Kors to CHANEL, Estée Lauder and Dolce & Gabbana. Alongside his 40-year practice as a photographer, Testino has realised a body of work as a creative director, guest editor, museum founder, art collector/collaborator and entrepreneur. In 2007, at the request of his clients to provide full creative direction services, he formed MARIOTESTINO+ which today is a growing team of individuals who support Testino to realise the breadth of his creative output.Source: www.mariotestino.com
Kantaya New
Kantaya New
Singapore
Kantaya New is a Thai–Singaporean photo artist based in Singapore. Her works span conceptual and street photography. Her street photography work focuses on overlooked, serendipitous moments in daily life, while her conceptual work uses staged scenes and objects to invite reflection. She is currently working on A Modern Day Affair among other work. Notable awards and recognition include SONY Alpha: MX Street Photo Contest (1st Prize, 2025), LensCulture Critics’ Choice (Winner, 2023), Fujifilm Moment Street Photo Awards (2nd Prize, 2024), Women Street Photographers Artist Residency (Shortlist, 2025) and the Sony World Photography Awards (Shortlist, 2022 — Open Competition and Alpha Female Awards). Media features include LENSCRATCH (2025). A Modern Day Affair (2023–ongoing) This series began at home: my husband was with me, but always on his phone. I felt the screen had stolen my place. That feeling began A Modern Day Affair. The work looks at how the phone reshapes our relationship. Many images are self- portraits; others focus on small details—a cracked screen protector on a cake, or notes on a door. Some are drawn from real moments; others are imagined, but the emotions are real. In a surreal and staged style, the photographs mix a myriad of emotions such as humor, sadness, and anger to show how two people drift apart even when sitting side by side. I am not blaming phones; rather, I am asking how often we choose screens over connection without noticing. The Little Prince (2021–ongoing) This series started out as a chance meeting between me, the mural artist Yip Yew Chong, and a little boy named Akkun. I trace crossings—between being and performance, between child and character, between the art of one person and the dream of another. These photographs are fleeting windows into how a child moves through imagination—how play becomes reality, and how the ordinary becomes unforgettable. It is both play and portrait, and I document how a child steps into the art of another person and makes it his own. ARTICLE: Uncovering the hidden gems in Life through the lens of Photography
Oana Daian
Oana Daian
Romania
Oana Daian is a photographer from Romania, currently based in Iasi. After a 12-year career in local television, where she worked as a presenter, show producer, and, for the past four years, as a marketing coordinator, she has now chosen to join the team of the National Theatre in Iasi as the institution’s PR representative. Her interest in visual imagery, its composition, and the communication of emotions and information through it was the trigger that inspired her to embark on a magical journey into the world of photography. Statement: Nature has always been my silent companion and greatest teacher. Through photography, I seek to capture its details, its distances, its depths, and its essence — all in synchronicity with my own presence within it.Between me and all of this, a camera and a lens that that explore the world beyond and my inner self; two universes resonating in unison, living the same moment and the same emotion, dissolving the boundaries between them and becoming a mirror of all our experiences. I wish for those who look at my photographs to rediscover, in this mirror, the most beautiful part of their soul. AAP Magazine: AAP Magazine 51 Colors
Philippe Fatin
Philippe Fatin
France
1962
Philippe Fatin is a photographer and a great traveller: after first stays in Mexico and South America, he discovered Asia (Nepal, India, Sri Lanka, Thailand, Japan, Burma, Cambodia, Laos, Vietnam, Korea) and fell in love with China and more particularly with the region of Guizhou. After an interlude with the Wayanas Indians in French Guyana and the publication of his first book Guyane terre d'espace, he multiplies his travels to the Miao people of Guizhou and ends up residing there for more than twenty years. He published a book Randonnée d'un photographe voyageur in China and exhibits at the Guiyang museum, he also publishes in the national and international press. He is also a collector, organized various exhibitions of his personal collections in French museums: Gold and lacquers from Burma, tribal textiles from southwest China, Nuo masks from the exorcism theatre of China accompanied by publications. In The Mounts of the Moon When I got off the Trans-Siberian Railway in 1985, I knew nothing about China. The blue of the heater set the tone on a red background. I spent the first two years getting to know this culture, before discovering a province in the southwest that was still untouched by any contact with the outside world. The last Westerners present in the region were missionaries, who were driven out of it in 1949 by the communists. The province of Guizhou is one of the poorest, along with that of Gansu. "There are never three days of good weather in a row, the inhabitant does not have three sapeques in his pocket, and there are not three lilies of the flat country." That sets the tone. This province is rich in the diversity of its ethnic minorities, who had managed to maintain an authentic way of life. The villages still lived in autarky, protected by the mountain rampart. Ninety percent of the territory is karst peaks. My camera equipment consists of two Leica M6 cameras and four lenses: 28, 35, 50, and 90mm. With 270 days of rain per year and a constant fog, I use 400 ASA B/W silver film. The access of this province being forbidden to tourism, the task was not easy. The game of cat and mouse with the local authorities was not a perennial solution to penetrate these misty mountains concealing so many secrets. My approach was to establish a base in the provincial capital. I made "Guangxi" connections, and gained the trust of the people and the local authorities. I worked hard to make them understand my work of investigating ethnic groups, especially the Miaos. I obtained special permits to stay in various valleys and villages. After years, I was able to set up different bases in villages that were completely self-sufficient. Sharing the intimacy of the people and building trust, I was able to open the doors to them. My curiosity allowed the rest It would absorb twenty years of my life, during which I photographed a way of life that surged from festivals governed by the gods and the seasons. The evolution of the country a galloping modernization was going to change the situation. Obeying the three priorities of the government: water, electricity and roads, the opening up of the province would radically shape a new face of the population and its environment. In fifteen intervals, my photographic work has thus taken on a patrimonial status. A massive folklorization of ethnic groups (amusement park, pilot village,) their acculturation by the Han mass, the race for enrichment, have contributed to a new mode of integration of these ethnic minorities. This modernization of China and its brutal change of vision of society, over a short period of time, swept away ancestral cultures. Few Westerners have lived in this province, which is now crossed by highways connecting Shanghai, or Guangzhou. My photos are a testimony acquired over the long term, on a way of life that is disappearing in favour of a strong nationalism. It seems to me essential to show the cultural richness of this people, (Nine million people). The province of Guizhou is the home of the Miao diaspora (more than three hundred clans), a threatened melting pot of traditions and rituals mostly ignored by the Han. Indeed, in this rapidly changing society, the peasant populations, known as "floating", have been the cheap labour of China's economic departure.
Nirav Solanki
Nirav Solanki
Zambia/United States
1980
Nirav is a Zambian-American photographer living in Southern California. He graduated with a degree in business. He has been an avid sailor for ten years, who is licensed to sail vessels as large as catamarans. He is also licensed to scuba dive as well as with the FAA to operate drones. He has work featured in Glasgow Gallery of Photography, Decode Gallery, and in Better Photography magazine. Nirav enjoys a minimalist approach to his works and is ever expanding his skill set and knowledge. Statement: I found the farming landscapes of Northern California to show as canvases from an aerial point of view. I saw the labor that was and continues to be done and how this affects not only ourselves but our land. I enjoyed the very earthy colours and found it to be grounding. Being mindful about how we appreciate our earth throughout the seasons and what it brings us in the beauty of a birds' eye view is something that I wanted to share.
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