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Aneta Ivanova
Aneta Ivanova
Aneta Ivanova

Aneta Ivanova

Country: Bulgary

My name is Aneta Ivanova and I am 21-years old photographer born in Varna, Bulgaria. I started doing photography when I was 13 and have never stopped since then. I began by shooting experimental self-portraiture in my home, then discovered Fine art and fashion photography. I’m open for all kinds of projects and collaborations. (Source: anetaivanova.com)

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anetaivanova.com

 

Inspiring Portfolios

Klavdij Sluban
© Klavdij Sluban
Vincenzo Barone
© Vincenzo Barone
Michael Ackerman
© Michael Ackerman
 
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More Great Photographers To Discover

Ilse Bing
Ilse Bing
Germany
1899 | † 1998
Ilse Bing was one of the leading European photographers of the interwar period. She was born into a comfortable Jewish family in Frankfurt, Germany, in 1899. As a child her education was rich in music and art. In 1920 she began studying mathematics and physics at the University of Frankfurt, but soon changed to study the history of art. In 1924 she continued her studies with a doctorate on the Neo-Classical German architect Friedrich Gilly. Bing's introduction to photography was triggered by a practical need to illustrate her doctoral thesis. She bought a Voigtlander camera in 1928 and began to teach herself photography. The following year she bought a Leica, the new and revolutionary 35mm hand-held camera that enabled photographers to capture fast-moving events. As well as enabling her to photograph buildings for her thesis, Bing's newfound skill with the camera earned her an extra living as a photojournalist for a German illustrated magazine supplement, Das Illustriete Blatt. During these early days of her career, Bing was also commissioned by the Dutch modernist architect Mart Stam, who taught at the Bauhaus school of design, to visually record all of his housing projects in Frankfurt. The resulting photographs were characterized by dizzy angles, flat planes and strong shadows, which were characteristic of an emerging modernist language of art and design, pioneered by both the new architecture and the 'New Photography' movement, of which Bing was beginning to be a part. Through Stam, Bing was also introduced to Frankfurt's avant-garde artistic circles. Having found some commercial success with photography, and with her artistic horizons expanding, Bing gave up her thesis in the summer of 1929 and, in 1930, decided to move to Paris to concentrate on photography. Establishing herself in Paris as a freelance photographer, she applied elements of the photographic style she had experimented with in Frankfurt to commercial work, including photojournalism, architectural and theatrical photography, advertising, fashion and portraiture. For the first couple of years in the city, she published her work regularly with German newspapers and Das Illustriete Blat. Gradually, she also started to publish work in the leading French illustrated newspapers such as L'Illustration, Le Monde Illustré and Regards, and from about 1932, she increasingly worked for fashion magazines Vogue, Adam, Marchal, and the American Harper's Bazaar. She explored Paris' rich historic past and its worn and weathered environments as well as its modern urban scenes, photographing the exhausted grandeur of the Père Lachaise cemetery, dark apartment blocks reflected in gutters, or the layering of torn posters on a wooden fence. Her fascination with shadow, contrasts of light and dark, and basic geometrical shapes also informed her portraiture. Her photograph of a young girl (Flower Girl, 1931) staring into the distance demonstrates her skill as a portraitist. The large flowers in the background contrast with the delicate bright flowers on the girl's dress, and the shadows behind highlight the bright young face. When on assignment, Bing would take extra pictures for her own artistic interests, and she quickly built up a large body of work. During a commission to photograph the famous Moulin Rouge cabaret, for example, she made a series of photographs of dancers, which formed her first exhibition in Paris in 1931. Later that year, her photographs caught the attention of the photographer and critic Emmanuel Sougez, who praised their dynamism. Nicknaming Bing 'the Queen of the Leica', Sougez continued to be an important and influential supporter of her work throughout the 1930s. In 1931 Bing met the New York-based writer Hendrik Willem van Loon, who became her most important patron and introduced her work to American clients. Van Loon showed her work to the collector and gallerist Julien Lévy, who subsequently displayed her work in the exhibition Modern European Photography: Twenty Photographers at his New York Gallery in 1932. Bing also frequently exhibited in Parisian galleries, where her work was shown alongside that of Brassaï, Henri Cartier-Bresson, Florence Henri, Man Ray and André Kértesz. In a trip to New York, Bing met Alfred Stieglitz, a leading figure in the American photographic world and great supporter of modern photography. We can see the influence of Stieglitz's vision on the photographs Bing made of the city following their meeting. In Bing's image of a carriage in Central park, the cropped dark outline of the carriage and its driver dominate the composition, providing a stark contrast to the wispy trees and gentle cityscape in the background – stylistically reminiscent of Stieglitz's work The Terminal (1892). Bing also absorbed the styles of other contemporary American artists – some of whom she met through Stieglitz. Her street scenes, for example Barber College, New York (1936), can be likened to scenes from contemporary American realist painting. After returning to Paris in 1937, Bing married the German pianist Konrad Wolff, whom she had met in 1933 when they lived in the same block of flats. Bing kept her maiden name for her photographic activities, but also used the name Ilse Bing Wolff. She took fewer photographs during the late 1930s, though she continued to find inspiration in Paris, and explored different subject-matter, including still life work. The outbreak of the Second World War changed everything. In 1940 Bing and Wolff, who were both Jewish, were forced to leave Paris and were interned in separate camps in the south of France. Bing spent six weeks in a camp in the Pyrenees, before rejoining her husband in Marseille. The couple spent nine months there, awaiting visas for the US. Eventually, with the support of the fashion editor of Harper's Bazaar, they were able to leave for the US in June 1941. Although Bing had managed to take her negatives with her, she left all of her prints behind in Paris under the safekeeping of a friend. They were sent on to Marseille but Bing and her husband had left already France by the time they arrived. The prints remained in Marseille – in a shipping company's warehouse – miraculously missing the many bombs that fell on the port, until the end of the War, when they were finally sent to Bing in New York. Tragically, when they arrived, Bing was unable to pay the customs duty for all of them. She had to sift through the prints and decide which to keep and which to throw away – some of her most important vintage prints were lost at this time. Five years after her successful visit to New York in 1936, Bing returned to an altogether different environment. This was partly due to changing fashions in photography, and partly because of the large number of photographers who had, like Bing, fled Europe and were now seeking work. Bing found it hard to gain commissions for reportage work and worked much less as a photojournalist from this point on, though she continued to take portraits – especially of children – and exhibited her work throughout the late 1940s and early 1950s. Bing returned to Paris twice after the war, in 1947 and in 1952, and once again photographed the city that she had loved so much in the 1930s. According to Bing, these later Paris photographs are infused with a different spirit. Influenced by the war, she saw things on a more impersonal, isolated level. In the late 1950s, Bing eventually gave up photography, wanting to make more abstract work through poems and line drawings, and later, collage.Source: Victoria and Albert Museum
Victoria Bjorklund
Victoria Bjorklund
United States
Victoria Bjorklund is a photographic & book artist based in Tacoma, Washington. She finds inspiration within the city and seeks to give a narrative in each thoughtfully captured photograph. Victoria is a graduate of the Fine Art Certificate program in Photography from Maine Media College and a graduate of the EDGE program for visual artists through Artist Trust in Seattle. Victoria accepts commissions and is available for commercial and editorial assignments. She is always looking for interesting visual stories to photograph, and welcomes your inquiries. Source: www.victoriabjorklund.com
Mona Singh
Mona Singh
India
Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision. She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world. About Silent Colors "Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan. She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
Donald Graham
Donald Graham
United States
Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time. Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico. Statement "My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic." Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. One of A Kind
Beverly Conley
Beverly Conley
United States
Beverly Conley is a documentary photographer in Benicia, California. She has found true satisfaction in long-term self assigned projects that have focused on individuals and contemporary society. Her quest has allowed her to enter the private world of Gypsies in England, the Cherokee Nation in Northeastern Oklahoma, steelworkers in Weirton, West Virginia and the Cape Verdean Communities in Boston and the Cape Verde Islands. Solo exhibitions include the Fort Smith Regional Art Museum in Arkansas, the Black Arts Center in Kalamazoo, Michigan, the Museum of Native American History and Culture in Bentonville, Arkansas, the Boston Public Library and the George Meany Center for Labor. Her work has been featured in juried exhibitions and group shows such as the Festival of American Folklife at the Smithsonian Institution and the Cleveland Museum of Art. She is represented in numerous permanent collections including the Smithsonian's National Museum of African American History and Culture, the Toledo Museum of Art, the Cleveland Museum of Art, the Museum of London, the New York Public Library, the Schomburg Center for Research in Black Culture, the Boston Public Library, the Museum of Native American History and Culture in Bentonville, Arkansas and the Cleveland Public Library. Beverly is the recipient of a 2002 Michigan Creative Artist Grant and she has received awards from the Utah Press Association, the International Regional Magazine Association and an excellence award by Black and White Magazine for their 2017 Special Issue. She is a member of the American Society of Media Photographers (ASMP). Life in the Ozarks: An Arkansas Portrait My ongoing project began in 2003 with a drive down a rural country road. I had recently moved to Fayetteville and was anxious to explore my new surroundings. The resulting images tell the stories of people, events and everyday life in and around small towns in the rugged Ozark Mountains. They represent different aspects of these communities – young and old, recent immigrants, preachers, cowboys, farmers and those whose families have lived in the Ozarks for generations. I am interested in documenting the vestiges of an older Ozarks. There is a sense of timelessness that I want to convey in my work. I am drawn to the less travelled back roads where catfish are caught bare-handed, folks gather on porches to play bluegrass and subsistence farming is still in existence. Living and photographing in the same place gave me the opportunity to observe the changes of a region in transition. Northwest Arkansas experienced tremendous growth in the last decade with rural communities inching closer and closer to cities. I really imagined this unique Arkansas heritage would be lost. What I have since discovered is the resilience and self- sufficiency of a complex culture that stands with one foot in the present and the other in the past. An individual might have a day job at a Walmart but returns to a hand built home and the traditions of the 'holler' at night. Through these photographs and words it is my intention to preserve and share the richness of this Southern way of life with a broader audience. Life in the Ozarks: An Arkansas Portrait Appleby Horse Fair: The Annual Gathering of Gypsies & Travellers Smithfield Market
Arthur Rothstein
Arthur Rothstein
United States
1915 | † 1985
Arthur Rothstein was an American photographer. Rothstein is recognized as one of America's premier photojournalists. During a career that spanned five decades, he provoked, entertained, and informed the American people. His photographs ranged from a hometown baseball game to the drama of war, from struggling rural farmers to US Presidents. ...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph. -- Arthur Rothstein The son of Jewish immigrants, Rothstein was born in Manhattan, New York City, and he grew up in the Bronx. He was a 1935 graduate of Columbia University, where he was a founder of the University Camera Club and photography editor of The Columbian, the undergraduate yearbook. He was a classmate of abstract painter Ad Reinhardt. Following his graduation from Columbia during the Great Depression, Rothstein was invited to Washington DC by one of his professors at Columbia, Roy Stryker. Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, Rothstein prepared a set of copy photographs for a picture sourcebook on American agriculture that Stryker and another professor, Rexford Tugwell were assembling. The book was never published, but before the year was out, Tugwell, who had left Columbia to be part of FDR's New Deal brain trust, hired Stryker. Stryker hired Rothstein to set up the darkroom for Stryker's Photo Unit of the Historical Section of the Resettlement Administration (RA). Arthur Rothstein became the first photographer sent out by Roy Stryker, the head of the Photo Unit. During the next five years he shot some of the most significant photographs ever taken of rural and small-town America. He and other FSA photographers, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the living conditions of the rural poor in the United States. The Resettlement Administration became the Farm Security Administration (FSA) in 1937. Later, when the country geared up for World War II, the FSA became part of the Office of War Information (OWI). The photographs made during Rothstein's five-year stint with the Photo Unit form a catalog of the agency's initiatives. One of his first assignments was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana. The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead II, a Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration. The Farm Security file would never have been created if we hadn’t the freedom to photograph anything, anywhere in the United States—anything that we came across that seemed interesting, and vital. -- Arthur Rothstein On February 18, 1937, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, and was preparing an article on tenancy for the July issue of The American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that Life [magazine] will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip, and Rothstein went to Gee's Bend alone. The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture reflected an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs. Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured. There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of August 22, 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian—and African—values. In 1940, Rothstein became a staff photographer for Look magazine but left shortly thereafter to join the OWI and then the US Army as a photographer in the Signal Corps. His military assignment took him to the China-Burma-India theatre and he remained in China following his discharge from the military in 1945, working as chief photographer for the United Nations Relief and Rehabilitation Administration, documenting the Great Famine and the plight of displaced survivors of the Holocaust in the Hongkew ghetto of Shanghai. In 1947, Rothstein rejoined Look as Director of Photography. He remained at Look until 1971 when the magazine ceased publication. Rothstein joined Parade magazine in 1972 and remained there until his death. He was the author of numerous magazine articles and a staff columnist for US Camera and Modern Photography magazines and the New York Times, Rothstein wrote and published nine books. Rothstein's photographs are in permanent collections throughout the world and have appeared in numerous exhibitions. A selection of these one-man shows include shows at the International Museum of Photography at George Eastman House; the Smithsonian Institution; Photokina; Corcoran Gallery of Art; Royal Photographic Society, as well as traveling exhibitions for the United States Information Service and for Parade magazine. He was a member of the faculty of the Columbia University Graduate School of Journalism and a Spencer Chair Professor at S. I. Newhouse School of Public Communications, Syracuse University. Rothstein was also on the faculties of Mercy College, and the Parsons School of Design in New York City, and he took great pride in mentoring young photographers including Stanley Kubrick, Douglas Kirkland, and Chester Higgins, Jr. A recipient of more than 35 awards in photojournalism and a former juror for the Pulitzer prize, Rothstein was also a founder and former officer of the American Society of Magazine Photographers (ASMP). Arthur Rothstein died on November 11, 1985, in New Rochelle, New York.Source: Wikipedia It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality. -- Arthur Rothstein
George Rodger
George Rodger
United Kingdom
1908 | † 1995
George Rodger was a British photojournalist and war photographer, best known for his work documenting World War II and Africa. He was born on May 20, 1908, in Hale, Cheshire, England, and began his career as a photographer in the 1930s, working for magazines such as National Geographic and Illustrated London News. In 1940, Rodger joined the British Army as a war photographer, and covered the North Africa campaign and the invasion of Sicily. He later joined the RAF and covered the Normandy invasion and the liberation of Europe. His photographs from this period captured the harsh realities of war and the human impact of the conflict. When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. -- George Rodger After the war, George Rodger traveled to Africa and documented the continent's people and cultures. He spent several years living and working in West Africa, and his photographs from this period captured the daily lives of the people and the beauty of the land. He also documented the Mau Mau rebellion in Kenya, which aimed to end British colonial rule, and the effects of the rebellion on the local population. In addition to his work as a photojournalist, Rodger was also a founding member of the Magnum Photos agency, along with other renowned photographers such as Henri Cartier-Bresson, Robert Capa, and David "Chim" Seymour. He served as the first president of the agency and played an important role in establishing its reputation as one of the premier photographic agencies in the world. Rodger's photographs have been widely exhibited and published, and his work is held in several major museums and collections, including the National Portrait Gallery in London, the Museum of Modern Art in New York, and the Bibliothèque Nationale de France in Paris. I had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error... -- George Rodger Throughout his career, George Rodger always sought to document the human experience, whether it was the horrors of war or the beauty of everyday life. He believed that photography had the power to change the world and to bring about social change, and his work continues to inspire and inform photographers and photojournalists today. George Rodger passed away on July 9, 1995, in London, England. His legacy continues to inspire photographers around the world with his dedication to document the human experience, and his work remains iconic and powerful to this day.
Sarah Elliott
Sarah Elliott
United States
1984
Sarah Elliott was born in the USA in 1984 and received a degree in photography in New York City at Parsons School of Design. Elliott assisted Stanley Greene for a year before moving to Nairobi, Kenya, where she is currently based. Elliott has traveled extensively and is interested largely in documenting social issues, with a focus on women. Her photographs have appeared in such publications as Vanity Fair Italy, Monocle, Financial Times Weekend Magazine and Time. In 2010, she was selected by the Magenta Foundation as a Flash Forward Emerging Photographer winner as well as a participant in World Press Photo Joop Swart Masterclass. In 2011 Sarah was shortlisted for the Anthropographia Award for Human Rights. Sarah is a founding member of Razon Collective, an international group of visual storytellers. In 2011, Elliott won the Global World: Through the Lens of Human Rights competition and a prize in the World Press Photo contest.Source World Press Photo
Richard Sandler
Richard Sandler
United States
1946
Richard Sandler is a street photographer and documentary filmmaker. He has directed and shot eight non-fiction films, including The Gods of Times Square, Brave New York and Radioactive City. Sandler’s still photographs are in the permanent collections of Brooklyn Museum, Center for Creative Photography - University of Arizona, Houston Museum of Fine Arts, Museum of the City of New York, New York Historical Society, New York Public Library. He was awarded a New York Foundation for the Arts fellowship for photography, a John Simon Guggenheim Fellowship for Filmmaking, and a New York State Council on the Arts fellowship for Filmmaking. The Eyes of the City was published by powerHouse Books in 2017.Source: www.richardsandler.com
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