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Magdalena Berny
M
Magdalena Berny
Magdalena Berny

Magdalena Berny

Country: Poland
Birth: 1976

Magdalena Berny is a graduate from the Pozna? University of Physical Education, self-taught photographer, passionate, mother of two. Over the years, she managed to create her own quite distinctive style. Works by Magdalena were published in Polish and foreign press dedicated to photographs, illustrations used as guides to photographing children and for projects of book covers.
About her:" Children as the subject of my photos appeared with their coming into the world. They were and are the cause, they determine the choice of subject of my photos. Photography for me is not only to catch the moments lived with children is also a record of my own emotions, sometimes stronger, sometimes weaker. How I " steal " look and emotions of children is due in large part to my own feelings. In addition to the joy and smile on my photographs often guests reflection, thoughtfulness and even sadness. In photography,I avoid references to the modern world while I often try to embed them in a climate of fairy tales. The inspiration for me as a photographer is all that surrounds me - broadly defined art, but also the place where I live every day as well as those that I manage to visit , and would later become sceneries of my photos".
 

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More Great Photographers To Discover

Michael Kenna
United Kingdom
1953
Michael Kenna was born in Widnes, England in 1953. As one of 6 children born to a working class Irish-Catholic family, he initially aspired to enter the priesthood but his passion for the arts led him to The Banbury School of Art where he studied painting and then photography. Later he attended The London College of Printing and began working as a photographer and artist. He moved to San Francisco in 1977 where he was astounded by the number of galleries the city housed which allowed artists to showcase and sell their work. San Francisco has remained his home ever since. Michael Kenna's work has often been described as enigmatic, graceful and hauntingly beautiful much like the Japanese landscape. Kenna first visited Japan in 1987 for a one-person exhibition and was utterly seduced by the country's terrain. Over the years he has traveled throughout almost the entire country constantly taking photographs. From these many treks the book Japan, featuring 95 of these photographs, was conceived. The simplicity and clarity of Kenna's Japan alludes to rather than describes his subject allowing the viewer to have a completely unique and tailored interpretation. He has described this body of work as, "more like a haiku rather than a prose"; his work being like photographs written in short poem form. Kenna's photographs are often made at dawn or in the dark hours of night with exposures up to 10 hours. Kenna has said "you can't always see what's otherwise noticeable during the day... with long exposures you can photograph what the human eye is incapable of seeing". Michael Kenna's prints have been shown in numerous exhibitions throughout the world with permanent collections in the Bibliotheque, Paris; The Museum of Decorative Arts, Prague; The National Gallery of Art, Washington DC; and the Victoria and Albert Museum, London. Kenna has also done a great deal of commercial work for such clients as Volvo, Rolls Royce, Audi, Sprint, Dom Perignon and The Spanish Tourist Board. Japan is one of 18 books of Kenna's photography to have been published to date. Source: Supervision With more than fifty monographs documenting his travels, Michael Kenna shows no signs of slowing down in his endless pursuit of nature's haunting beauty. Whether working in his native England, Easter Island, the coastal towns of France or the islands in Japan, Kenna seeks places of solitude which speak volumes about humanity. Barren seascapes, abandoned fishing nets, fragmented piers, mysterious horizons, trees emerging from under snow drifts – these are just some of the images which dominate Michael Kenna's work from Japan. The result of his efforts can be seen in two books, Hokkaido (2006) and Japan (2002), both published by Nazraeli Press. His newest book, Mont St Michel, continues his passion for solace. Originally built as a community for Benedictine monks, Mont St Michel became a place of prayer, meditation and silence. Kenna made may journeys to Mont St Michel, staying for days at a time, living among the residents, following their codes of silence and prayer. Armed with a camera, Kenna walked the halls, crypts and towers, watching shadows sneak their way around columns and spires, recording the passing of time. Mont St Michel is dedicated to Michael's father who recently passed away. As Kenna states in his introduction: "My dad was a quiet man, he didn't seem to have a need to talk very much...We walked pretty much everywhere, and I liked to walk with my Dad...I think the time in-between destinations was most special for me. We didn't need to say very much to each other. Walking, observing, listening, waiting. Somehow I associate those walks with my time at Mont St Michel...He taught me that it's alright to walk alone sometimes." Whether photographing in Mont St Michel, Japan, China, or the United States, Michael Kenna invites the viewer to walk along with him as he captures moments between events, when human presence seems right around the corner and silence is always present... Source: Catherine Edelman Gallery
Paul Strand
United States
1890 | † 1976
Paul Strand was born in New York City. As a teenager, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. A visit to Gallery 291 (owned by Alfred Stieglitz) proved to be a strong influence on Strand, who began to take photographs of his own. He experimented with abstraction but also used his camera as a means to promote social reform. Alfred Stieglitz praised these early efforts and featured Strand's work in his gallery and in his magazine Camera Work. In the early 1920s, Strand began to work in motion pictures as well as still photography. In June 1949, Strand left the United States to present a film in Czechoslovakia, an event which marked the beginning of his self-imposed exile overseas due to the prevailing climate of McCarthyism in America. He settled in Orgeval, France and in the ensuing years photographed extensively, and also produced six book "portraits" of places: Time in New England (1950), La France de Profil (1952), Un Paese (1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: An African Portrait (1976).Source: Robert Mann Gallery Strand married the painter Rebecca Salsbury on January 21, 1922. He photographed her frequently, sometimes in unusually intimate, closely cropped compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. The timing of Strand's departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand's collaborators were either Party members (James Aldridge; Cesare Zavattini) or prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or suspected of being so (Member of Parliament D. N. Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than 20 organizations that were identified as "subversive" and "un-American" by the US Attorney General. When he was asked by an interviewer why he decided to go to France, Strand began by noting that in America, at the time of his departure, "McCarthyism was becoming rife and poisoning the minds of an awful lot of people." During the 1950s, and owing to a printing process that was reportedly only available in that country at the time, Strand insisted that his books be printed in Leipzig, East Germany, even if it meant they were initially banned in the American market on account of their Communist provenance. Following Strand's move to Europe, it was later revealed in de-classified intelligence files, obtained under the Freedom of Information Act and now preserved at the Center for Creative Photography at the University of Arizona, that he was closely monitored by security services.Source: Wikipedia
Martin Parr
United Kingdom
1952
Martin Parr is a British photojournalist, documentary photographer, and collector of photobooks. He is renowned for his photography works that critically examine various facets of contemporary society, particularly English suburban and rural life. Since 1994, Martin Parr has been a member of Magnum Photos. Parr, who was born in Epsom, Surrey, intended to be a documentary photographer since he was fourteen, and credits his grandpa, an amateur photographer, as an early inspiration. He studied photography at Manchester Polytechnic from 1970 to 1973. In 1980, he married Susan Mitchell, and they have one child, Ellen Parr (born 1986). He has been a resident of Bristol since 1987. Spain. Benidorm. 1997Courtesy Magnum Photos / © Martin Parr Martin Parr began his career as a professional photographer and has taught photography on and off since the mid-1970s. He was first recognized in the north of England for his black-and-white photography, Bad Weather (1982) and A Fair Day (1984), but switched to color photography in 1984. Last Resort: Photographs of New Brighton, the resulting work, was published in 1986. Martin Parr has nearly 100 books published and has been featured in over 100 exhibitions worldwide, including one at the Barbican Arts Centre in London. His retrospective exhibition was chosen as the main show for Singapore's Month of Photography Asia in 2007. In 2008, he was named Honorary Doctor of Arts at Manchester Metropolitan University (MMU) in recognition of his ongoing contributions to photography and MMU's School of Art. The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express. -- Martin Parr Martin Parr's documentary photography style is intimate, anthropological, and satirical. Macro lenses, ring flash, high-saturation color film, and, since it became a more convenient format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, allowing them to expose their lives and values in ways that often involve inadvertent humor. For example, in order to create his book Signs of the Times: A Portrait of the Nation's Tastes (1992), Parr went into ordinary people's homes and photographed the mundane aspects of his hosts' lives, combining the images with quotes from his subjects in order to bring viewers uncomfortably close to them. The end result of Parr's technique has been described as ambiguous emotional reactions, with viewers unsure whether to laugh or cry. IRELAND. Galway. Galway Races. 1997Courtesy Magnum Photos / © Martin Parr Parr is also a curator and editor. He has curated two photography festivals, one in Arles in 2004 and the other in Brighton in 2010. Parr recently curated the Strange and Familiar exhibition at the Barbican. Many major museums, including the Tate, the Centre Pompidou, and the Museum of Modern Art in New York, have acquired Martin Parr's work. In 2017, Martin Parr established the Martin Parr Foundation. Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs. -- Martin Parr
Charlie Lieberman
United States
1945
Charlie Lieberman is a photographer and cinematographer based in Southern California. Best known for his work on the TV show, Heroes, Lieberman has also been developing a body of photographic work since the 1960s. His current practice seeks out humble landscapes, avoiding the iconic in an effort to impart a sense of memory, contemplation, and awe. Lieberman is currently an Active Member of The American Society of Cinematographers. He has been represented by Freed Gallery since 2014 in Lincoln City, Oregon. Statement Whenever I take a photograph, I want you to feel like you are there with me. Whether it is looking through a windshield blurred by rain or standing beside a stretch of weathered, empty highway, I want to impart a sense of memory, even if you have never been to that particular place before. Photographs, like memories, have an elusive power to document experiences that approach each of us in different ways. My work is an attempt to reconsider the preconceptions one might have about landscapes and how we move through them, to direct your eye to experiences that often go unnoticed or taken for granted. By avoiding the iconic, I try to reconnect with a past beyond my own, to a kind of humble, primordial existence where one can converse with the world in solitude. When I do enter the urban landscape, it is always through the impact of light and weather, reminding us of the nature we all inhabit. I document what I consider to be a shy world, a world where stillness and contemplation enable us to walk together and share a common experience imprinted upon the landscape even if the human figure is absent in these photographs. It is this absence I hope to capture with my photography, to allow room for our memories-both real and imagined—to inhabit us with renewed appreciation and awe. Exclusive Interview with Charlie Lieberman
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