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Michal Karcz
Michal Karcz
Michal Karcz

Michal Karcz

Country: Poland
Birth: 1977

I was born in 1977 in Warsaw, Poland. I had graduated from the High School of Art in Warsaw. My journey into the world of photography began in the early 90's, but at that time my biggest passion was painting. Painting helped me develop vision that was hard to create. Unfortunately I had to leave the paintbrush and canvas. A few years ago, I opened "the door" to my own world with help of a different key... My early fascinations of painting and photography was combined into one piece, with use of digital tools. This digital photography and software gave me the opportunity to generate unique realities that are impossible to create with ordinary dark room techniques. Most of my work is the journey to the places which don't exist, places from my dreams, desire and imagination. I'm taking my inspiration from many artists and it doesn't matter if they get across to me by sense of vision or hearing I always try to make an extraordinary picture and my goal is to make a viewer stop for a minute, to influence on emotions and take away from reality. Am I making it happen?. appraise yourself.

Website

www.michalkarcz.com

 

Inspiring Portfolios

Klavdij Sluban
© Klavdij Sluban
Vincenzo Barone
© Vincenzo Barone
Michael Ackerman
© Michael Ackerman
 
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Alex Majoli
Alex Majoli
Italy
1971
Alex Majoli (b. 1971, Italy) is a photographer whose work has focused on the human condition and the theater within our daily lives. He has received many awards including the Guggenheim Fellowship in 2015, the W. Eugene Smith Grant(2017), the Getty Images Grant For Editorial Photography 2009, and the Infinity Award for Photojournalism in 2003. He has been a member of Magnum Photos since 2001 and is represented by Howard Greenberg Gallery NY.Source: LensCulture At the age of 15, Alex Majoli joined the F45 Studio in Ravenna, working alongside Daniele Casadio. While studying at the Art Institute in Ravenna, he joined Grazia Neri Agency and traveled to Yugoslavia to document the conflict. He returned many times over the next few years, covering all major events in Kosovo and Albania. Majoli graduated from art school in 1991. Three years later, he made an intimate portrayal of the closing of an asylum for the insane on the island of Leros, Greece, a project that became the subject of his first book, Leros. In 1995 Majoli went to South America for several months, photographing a variety of subjects for his ongoing personal project, Requiem in Samba. He started the project Hotel Marinum in 1998, on life in harbor cities around the world, the final goal of which was to perform a theatrical multimedia show. That same year he began making a series of short films and documentaries. After becoming a full member of Magnum Photos in 2001, Majoli covered the fall of the Taliban regime in Afghanistan, and two years later the invasion of Iraq. He continues to document various conflicts worldwide for Newsweek, The New York Times Magazine, Granta and National Geographic. Majoli, in collaboration with Thomas Dworzak, Paolo Pellegrin and Ilkka Uimonen, had an extremely successful exhibition and installation Off Broadway in New York in 2004, which traveled to France and Germany. He then became involved in a project for the French Ministry of Culture entitled BPS, or Bio-Position System, about the social transformation of the city of Marseilles. A recently completed project, Libera me, is a reflection on the human condition. In 2013 Majoli, in collaboration with Pellegrin, completed a massive photographic project in the Congo, which resulted in a his largest book project to date being published with Aperture, in 2015.Source: Magnum Photos At the age of fifteen, Alex Majoli joined the F45 photo agency in Ravenna, Italy, and he graduated from the city’s art Institute in 1991. While in art school, Majoli became a member of Grazia Neri Agency and traveled to Yugoslavia to document the ongoing political conflict. In 1995, Majoli published his first book documenting the patients in a mental hospital that was formerly used as a military hospital in Leros, Greece. That same year he traveled to Brazil where he started the project Tudo Bom. In this, he visualizes the darker side of a complex society where daily life is often shaped by hardship and violence. Majoli has been working on this project for twenty years. The series Hotel Marinum that Majoli started in 1998 documents life in harbor cities around the world and was inspired by his life growing up in the port of Ravenna. Majoli has been a member of Magnum Photos since 2001 and has worked on assignments for a variety of publications, including The New York TIME Magazine, Newsweek, The New Yorker, and National Geographic. Majoli has been inspired by the theories of the Sicilian playwright Luigi Pirandello, who believed there is a thin line between theater and real-life and that people take on a role in their daily lives. Over the years, the photographer has examined this philosophy more fully. Majoli does not aspire to document reality. Rather, in his more personal projects, he explores this idea of people as actors in their own lives. In his most recent work, he uses powerful strobe lights to make his subjects aware of the roles they play in the scene that he records. The result is cinematic; the dark surroundings of a scene highlight powerful human emotions.Source: International Center of Photography
Szymon Barylski
Szymon Barylski
Poland
1984
Szymon Barylski Polish freelance photographer born in 1984 based in Ireland. He has been published, among others, The Irish Times, National Geographic Poland, The Eye of Photography, Edge of Humanity Magazine. He has had a number of exhibitions in many countries including 3rd Documentary Photography Days in Istambul, MIFA Photography, The SE Centre for Photography- Documentary Photography. His pictures were awarded in many competitions. Szymon is involved in documentary photography and photo essays. Photographing for he is a tool for exploring and learning about the world. He tries to tell a story and show it directly. In his opinion, people are an inexhaustible topic and a source of inspiration. Szymon said: „When traveling, I meet people; as a result, I create the image of my relation with them. The exploration of the environment where I take photos allow me to create emotional and convincing scenes.“ He thinks you cannot photograph the things you do not know well. That is why he prepares himself for each project individually, accurately, going into detail in the newspapers and on the Internet. Next, he looks for an inspiration in other photographer’s photos and conversations, as a result, he can create real pictures. His own narrative presented in his photos are at the same time very personal and common. Szymon thinks that a lot of people can identify themselves with his works. Photographer wish his photos could increase individual and collective awareness about the social, political and economic need and urge people to act, be part of positive changes.
Eve Arnold
Eve Arnold
United States
1912 | † 2012
Eve Arnold was born Eve Cohen in Philadelphia, Pennsylvania, the middle of nine children born to immigrant Russian-Jewish parents, William Cohen (born Velvel Sklarski), a rabbi, and his wife, Bessie (Bosya Laschiner). Her interest in photography began in 1946 while working for Kodak in their Fair Lawn NJ photo-finishing plant. Over six weeks in 1948, she learned photographic skills from Harper's Bazaar art director Alexey Brodovitch at the New School for Social Research in Manhattan. She married Arnold Schmitz (later Arnold Arnold) in 1941. Eve Arnold photographed many of the iconic figures who shaped the second half of the twentieth century, yet she was equally comfortable documenting the lives of the poor and dispossessed, "migrant workers, civil-rights protestors of apartheid in South Africa, disabled Vietnam war veterans and Mongolian herdsmen." Her joyful picture of a Cuban couple with their child was selected in 1955 for the world-touring Museum of Modern Art exhibition The Family of Man and seen by 9 million visitors. For Arnold, there was no dichotomy: "I don't see anybody as either ordinary or extraordinary," she said in a 1990 BBC interview, "I see them simply as people in front of my lens." Arnold was particularly noted for her work using available light, concentrating on the image in the lens and eschewing extensive use of photographic lighting and flash. Of this she said "By the time you set up lights the image is gone" in a Guardian interview in 2000. Arnold's images of Marilyn Monroe on the set of The Misfits (1961) were perhaps her most memorable, but she had taken many photos of Monroe from 1951 onwards. Her previously unseen photos of Monroe were shown at a Halcyon Gallery exhibition in London during May 2005. She also photographed Queen Elizabeth II, Malcolm X, Marlene Dietrich, and Joan Crawford, and traveled around the world, photographing in China, Russia, South Africa and Afghanistan. Arnold left the United States and moved permanently to England in the early 1970s with her son, Francis Arnold. While working for the London Sunday Times, she began to make serious use of color photography. In 1980, she had her first solo exhibition, which featured her photographic work done in China at the Brooklyn Museum in New York City. In the same year, she received the Lifetime Achievement Award from the American Society of Magazine Photographers. In 1993, she was made an Honorary Fellow of the Royal Photographic Society, and elected Master Photographer by New York's International Center of Photography. She did a series of portraits of American First Ladies. In 1997, she was appointed a member of the Advisory Committee of the National Media Museum (formerly the Museum of Photography, Film & Television) in Bradford, West Yorkshire. She was appointed an Honorary Officer of the Order of the British Empire (OBE) in 2003. She lived in Mayfair for many years until her last illness, when she moved to a nursing home in St George's Square, Pimlico. When Anjelica Huston asked if she was still doing photography, Arnold replied: "That's over. I can't hold a camera any more." She said she spent most of her time reading such writers as Fyodor Dostoyevsky, Thomas Mann and Leo Tolstoy. Arnold died in London on January 4, 2012, aged 99. Source: Wikipedia Eve Arnold was born in Philadelphia, Pennsylvania to Russian immigrant parents. She began photographing in 1946, while working at a photo-finishing plant in New York City, and then studied photography in 1948 with Alexey Brodovitch at the New School for Social Research in New York. Arnold first became associated with Magnum Photos in 1951, and became a full member in 1957. She was based in the US during the 1950s but went to England in 1962 to put her son through school; except for a six-year interval when she worked in the US and China, she lived in the UK for the rest of her life. Her time in China led to her first major solo exhibition at the Brooklyn Museum in 1980, where she showed the resulting images. In the same year, she received the National Book Award for In China and the Lifetime Achievement Award from the American Society of Magazine Photographers. In later years she received many other honours and awards. In 1995 she was made fellow of the Royal Photographic Society and elected Master Photographer - the world's most prestigious photographic honour - by New York's International Center of Photography. In 1996 she received the Kraszna-Krausz Book Award for In Retrospect, and the following year she was granted honorary degrees by the University of St Andrews, Staffordshire University, and the American International University in London; she was also appointed to the advisory committee of the National Museum of Photography, Film & Television in Bradford, UK. She has had twelve books published. Source: Magnum Photos
Jean Gaumy
Jean Gaumy
France
1948
Jean Gaumy is a French photographer and filmmaker who has been associated with Magnum Photos since 1977. Gaumy was born in Pontaillac, Charente-Maritime, France. He attended school in Toulouse and Aurillac and went to university in Rouen. While a student in Rouen, he began working as a freelance photographer to help pay for his education. In 1973 he joined Gamma (agency). Much of his work has focused on human confinement. In 1975 he began work on two such projects in France: L'hôpital and Les Incarcérés, both of which were published as books. Les Incarcérés was an unprecedented project on French prisons—he was the first to receive permission to photograph them. In 1984 he made his first film, La Boucane. It was nominated for a César in 1986. That year he also began a series of trips aboard trawlers which led to his 2001 publication Pleine Mer. Beginning in 1987 he spent two years documenting Octeville-sur-Mer through the eyes of the so-called village idiot Jean-Jacques. Since the late 1980s he has also traveled often to Iran and has also traveled in Central America and Africa. He has made several other films. In recent years he has been documenting life on a nuclear submarine and has also worked on a series of mountain landscapes. In the early 1970s he married his wife Michelle and in 1975 their daughter Marie was born. Since 1995 he has lived in Fécamp, Haute Normandie. Source: Wikipedia
Marek Boguszak
Marek Boguszak
Czech Republic
1952
Marek Boguszak is an abstract photographer from Prague. His major subject is the perfect order and harmony of windblown sand dunes created by Newton's laws of physics. His abstraction is rooted in his academic background in mathematics. Together with his wife Magda, Marek transforms the original depictive content into a narrative space of new associations. Boguszak has received multiple awards and honorable mentions and showed his works at solo and group exhibitions in Prague, Zurich, London, New York, Barcelona, Madrid, Lisbon, Campione and Milan. ARTIST STATEMENT "Shooting digital photography of sand dunes has brought me to a rare world of magnanimous and dignified calmness. Our sight is hardly compromised by other senses; all distractions of our reality disappear, all defects, all noises are no more. Being there is an abstraction from the continuous entropy of life, resulting in a simple and clean harmony. Sand dunes were created by obeying the laws of physics, their geometrical shapes, smooth and perfect, are a visible representation of an almost flawless balance, and without visible traces of any kind of life, they become themselves a pure form, filled in with sunshine. As the recognizable world dissolves in abstraction, the image comes to work on one’s mind like a fragrance or a piece of music, eluding rational understanding and revealing itself fully only as a feeling."
Eleni Mahera
Eleni Mahera
Greece
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"I was born and raised in Agios Lavrentios, a small village on Mt Pelion, Greece. I have a Bachelor in English Language and Literature and a Master in Interdisciplinary Approach to Teaching Foreign Languages. I live in Komotini, a small provincial town in northern Greece and I am currently involved with Adult Education. My first contact with photography came in 2009 through a course offered by a local photography club. What actually gave me a new insight not only into photography but in life altogether was the sudden loss of a beloved person: my mother. In my attempt to redefine myself, photography came as a real blessing, an outlet for my pent-up emotions. My 'project' is to make the most of this therapeutical effect photography has on me and transform my inner world into images."
Stephen Wicks
Stephen Wicks
United States
Stephen Wicks' attraction to photography began during his childhood. He says he was inspired by the photo essays in LIFE Magazine. Each week when a new issue arrived it seemed like the world beyond his home was in his hands and he had feelings for and wanted to meet the people who appeared in the pictures and visit the places he saw on the pages in the magazine. Wicks has always had a deep interest in all forms of communication. He says his attraction to the visual world and belief in the power of images triggered his imagination, cultivated his intuition, awakened within him a natural curiosity and an instinct to questioning everything. These qualities have been the inspiration for Wicks to follow parallel careers as an imagemaker and visual educator. As an artist Stephen Wicks has been using photography, videography, monologues and soundscapes to tell stories about the things he see's, questions and values. His motivation has been to create picture stories, in print and now also on the screen, to share with others what he has experienced, discovered and captured. During his early career Wicks created traditional B&W photo essays with up close and personal photographs made, often while living with his subjects over a long period of time, and returning many years later to see and capture changes in their lives. More recently, Wicks has been making digital color photographs of landscapes, places and objects found in spaces shared by the natural landscape and built environment. Although these photographs are void of people, he believes a human trace is visible in each picture and, with this in mind, he see's his Nature/Culture images as social landscapes. It is precisely the absence of people along with a sense of their presence, as seen in the marks and artifacts left in the environment, he now finds most fascinating. Stephen Wicks is currently developing two presentation/performance/storytelling projects: PICTURE STORIES: a series of live presentations based on thematic video vignettes, photographs and monologues about American people, places, experiences and events; including a dialogue with the audience (in development / launch: September 2019) BEING THERE: his YouTube Channel - a video magazine about American Culture - including picture stories, video journals and commentary on education, art, communication, politics, economy, media (in development / launch: October 2019)
Roger Fenton
Roger Fenton
United Kingdom
1819 | † 1869
Roger Fenton was a British photographer, noted as one of the first war photographers. He was born into a Lancashire merchant family. After graduating from London with an Arts degree, Fenton became interested in painting and later developed a keen interest in the new technology of photography after seeing early examples at The Great Exhibition in 1851. Within a year, he began exhibiting his own photographs. He became a leading British photographer and instrumental in founding the Photographic Society (later the Royal Photographic Society). It is likely that in autumn 1854, as the Crimean War grabbed the attention of the British public, that some powerful friends and patrons – among them Prince Albert and Duke of Newcastle, Secretary of State for War – urged Roger Fenton to go to the Crimea to record the happenings. The London print publisher Thomas Agnew & Sons became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the British people, and to counteract the occasionally critical reporting of correspondent William Howard Russell of The Times; the photographs were to be converted into woodblocks and published in the less critical Illustrated London News. He set off aboard HMS Hecla in February, landed at Balaklava on 8 March and remained there until 22 June. Fenton took Marcus Sparling as his photographic assistant, a servant known as William and a large horse-drawn van of equipment. Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was only able to produce pictures of stationary objects, mostly posed pictures; he avoided making pictures of dead, injured or mutilated soldiers. But he also photographed the landscape, including an area near to where the Charge of the Light Brigade – made famous in Tennyson's poem – took place. In letters home soldiers had called the original valley "The Valley of Death", and Tennyson's poem used the same phrase, so when in September 1855 Thomas Agnew put the picture on show, as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he took the troops'—and Tennyson's—epithet, expanded it as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, and assigned it to the piece; it is not the location of the famous charge, which took place in a long, broad valley several miles to the south-east. Despite summer high temperatures, breaking several ribs in a fall, suffering from cholera and also becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make over 350 usable large format negatives. An exhibition of 312 prints was soon on show in London and at various places across the nation in the months that followed. Fenton also showed them to Queen Victoria and Prince Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales were not as good as expected. Despite the lack of commercial success for his Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. However, as time moved on, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common people. It is likely that Fenton, from a wealthy background, disdained 'trade' photographers, but nevertheless still wanted to profit from the art by taking exclusive images and selling them at good prices. He thus fell into conflict with many of his peers who genuinely needed to make money from photography and were willing to 'cheapen their art' (as Fenton saw it), and also with the Photographic Society, who believed that no photographer should soil himself with the 'sin' of exploiting his talent commercially in any manner. Amongst Fenton's photographs from this period are the City of Westminster, including The Palace of Westminster nearing completion in 1857 – almost certainly the earliest images of the building, and the only photographs showing the incomplete Clock Tower. In 1858 Fenton made studio genre studies based on romantically imaginative ideas of Muslim life, such as Seated Odalisque, using friends and models who were not always convincing in their roles. Although well known for his Crimean War photography, his photographic career lasted little more than a decade, and in 1862 he abandoned the profession entirely, selling his equipment and returned to the law as a barrister. Although becoming almost forgotten by the time of his death seven years later he was later formally recognized by art historians for his pioneering work and artistic endeavour. In 1862 the organizing committee for the International Exhibition in London announced its plans to place photography, not with the other fine arts as had been done in the Manchester Art Treasures Exhibition only five years earlier, but in the section reserved for machinery, tools and instruments – photography was considered a craft, for tradesmen. For Fenton and many of his colleagues, this was conclusive proof of photography's diminished status, and the pioneers drifted away. He died 8 August 1869 at his home in Potters Bar, Middlesex after a week-long illness – he was 50 years old. His wife died in 1886. Their graves were destroyed in 1969 when the Potters Bar church where they were buried was deconsecrated and demolished.Source: Wikipedia Roger Fenton is a towering figure in the history of photography, the most celebrated and influential photographer in England during the medium’s “golden age” of the 1850s. Before taking up the camera, he studied law in London and painting in Paris. He traveled to Russia in 1852 and photographed the landmarks of Kiev and Moscow; founded the Photographic Society (later designated the Royal Photographic Society) in 1853; was appointed the first official photographer of the British Museum in 1854; achieved widespread recognition for his photographs of the Crimean War in 1855; and excelled throughout the decade as a photographer in all the medium’s genres—architecture, landscape, portraiture, still life, reportage, and tableau vivant. Fenton’s most widespread acclaim came in 1855, with photographs of the Crimean War, a conflict in which British, French, Sardinian, and Turkish troops battled Russia’s attempt to expand its influence into European territory of the Ottoman empire. Fenton was commissioned by the Manchester publisher Thomas Agnew & Sons to travel to the Crimea and document the war, and his mission was encouraged by the government, which hoped that his photographs would reassure a worried public. Fenton’s extensive documentation of the war—the first such use of photography—included pictures of the port of Balaklava, the camps, the terrain of battle, and portraits of officers, soldiers, and support staff of the various allied armies. Perhaps inspired by the experience of traveling through Constantinople en route to Balaklava, or perhaps simply sharing the mid-nineteenth-century vogue for all things exotic, Fenton produced a theatrical suite of Orientalist compositions during the summer of 1858—costume pieces that strove for high art rather than documentation and that were, in a sense, an antidote to the harsh realities he had recorded in the Crimea. They owed as much to the paintings of Delacroix and Ingres as to Fenton’s own experience in the East. In 1862, after a final series of photographs—a remarkable group of lush still lifes—Fenton sold his equipment and negatives, resigned from the Royal Photographic Society, and returned to the bar. In the course of a single decade, Fenton had played a pivotal role—by advocacy and example—in demonstrating that photography could rival drawing and painting not only as a means of conveying information, but also as a medium of visual delight and powerful expression.Source: Metropolitan Museum of Art
Tim Flach
Tim Flach
United Kingdom
1958
Tim Flach is an animal photographer with an interest in the way humans shape animals and shape their meaning while exploring the role of imagery in fostering an emotional connection. Bringing to life the complexity of the animal kingdom, his work ranges widely across species, united by a distinctive stylisation reflecting an interest in how we better connect people to the natural world. He has four major bodies of work concerning different subjects: Equus (2008) focusing on the horse, Dogs Gods (2010) on canines, More Than Human (2012) a broad exploration of the world’s species, and Endangered (2017) a powerful document of species on the edge of extinction. He has published five books; Endangered (2017), Evolution (2013), More than Human, (2012), Dogs Gods (2010) and Equus (2008). Flach is an Honorary Fellow of the Royal Photographic Society, and was awarded an Honorary Doctorate from University of the Arts London in 2013. He lives and works in London with his wife and son. Source: timflach.com Over the past decade, Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way humans shape animals, and shape their meaning. He has three major bodies of work: More Than Human, Dogs Gods, and Equus. Through the related books and exhibitions, Flach has attracted international interest. His images have been acquired by major public and private collections. Commissions by leading editorial and commercial clients have also garnered multiple awards, including three Cannes Lions. He has won the International Photography Award's Professional Photographer of the Year for fine art, and in 2013 was conferred with an Honorary Doctorate from Norwich University of the Arts, in recognition of his contribution to photography.
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