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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Gabrielle Duplantier
Gabrielle Duplantier
Gabrielle Duplantier

Gabrielle Duplantier

Country: France
Birth: 1978

Gabrielle Duplantier studied painting and art history at the university of Bordeaux in France. Photography was a hobby on the side. After her university studies, she decided to dedicate herself to photography and she went to Paris where she worked as an assistant for several photographers. In 2002, she felt the need to come back home. Inspired by the rich and enigmatic Basque country, she started a series of photographs where landscapes, animals or humans are revealed as impressionist visions, this body of work contains some of her best images. She pursues her work on portraits of women, one of her favorite subjects, and on Portugal where she travels regularly.

Gabrielle’s photographic world seems voluntarily detached from all temporal or social reality. So her subjects or not really thematic, she is seeking beautiful images that exist outside of any context, on their own. She has already published 3 books, works with press, edition, she collabore with musicians, writers. Her work is also regularly exhibited. In 2012, Gabrielle Duplantier appears in MONO, edited by Gomma books, monography of the best contemporary black and white photographers along with artists such as Michael Ackerman, Trent Parke, Anders Petersen, or Roger Ballen...

FNAC's Collection and privates Collections.
Finalist Grand Concours Agfa 2003.
Coup de Cœur Bourse du Talent Portrait, Photographie.com 2005.
Finalist Parole photographique, Actuphoto 2008.
Published in Photos Nouvelles, Shots Magazine, Gente di fotografia, Le Festin, Pays basque magazine, Geokompakt, Philosophy magazine...

Discover Gabrielle Duplantier's Interview
Selected Books on Available on Amazon
La mer console de toutes les laideurs
La mer console de toutes les laideurs
Gabrielle Duplantier, Marie Darrieussecq
Gabrielle Duplantier: Volta
Gabrielle Duplantier: Volta

Website

www.gabrielleduplantier.com

 

Selected Books

La mer console de toutes les laideurs
La mer console de toutes les laideurs
Gabrielle Duplantier, Marie Darrieussecq
Gabrielle Duplantier: Volta
Gabrielle Duplantier: Volta
Gabrielle Duplantier

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
Call for Entries
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Publish your work in our printed magazine and win $1,000 cash prizes
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More Great Photographers To Discover

Candy Lopesino
Candy Lopesino
Spain
1958
Spanish photographer and cinematographer born in Madrid 1958, Candy Campesino lives and works in Madrid. She is a member of the global community Women Street Photographers and a member of DOCMA Documentary Filmmakers Association. "The first time I saw the black and white image appear in the developer tank, I knew that photographing was what I wanted to do for a lifetime. Photography helps me discover the world around me, to know better myself and to express myself. With which I manage to unite two of my passions, photography and traveling. My professional career begins as a graphic reporter under the signature of Hidalgo-Lopesino photographers collaborating with the Incafo publishing house and in collaboration with the UNESCO it realizes articles for the collection of books 'The Heritage of the Humanity' in Mexico, Bulgaria, Tunis, Portugal, Italy, Great Britain, Spain, France, Panama… I have collaborated with others magazines: GEO Spain, GEO Japan, Viajes National Geographic, Traveler, Volta ao Mundo, Saveur Magazine New York, Rutas del Mundo, Península, Descubrir, Altaïr… There was a first photography exhibition that made a huge impact on me. They were the portraits that Edward Sheriff Curtis had made of the North American Indians and to which he had dedicated 30 years of his life. The portraits were impressive, and the time spent on the project blew me away. I left the showroom wanting to do a long-term personal project. This is how I start my personal project 'The Iberians' in which I have been working for the first two decades of the 21st century and in which I continue to photographing. " The Iberian: The Iberian Peninsula is a geographical concept formed by Spain and Portugal, two geographically united countries but separately by an invisible border. THE IBERIANS is an essay about my travels through this territory visually narrating the things that happen while wandering around Iberia, how to write in a sketchbook. The knowledge of a specific territory gives depth and meaning to my project, that is why my work is a continuous journey through Spain and Portugal. They are places where I explore the concepts of territory, border, light, memory and identity through the observation of the other. In The Iberians I rediscover the common places, their people, their culture, their realities circumscribed to geography, in short, I explore the human condition.
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
Eric Lafforgue
Eric Lafforgue
France
1964
Eric Lafforgue is a French photographer. He has photographed in North Korea, making many trips there. Lafforgue has documented the Guna people of the San Blas Islands, off the coast of Panama, whose existence is threatened by rising sea levels. Born in France, Eric Lafforgue started his career in medias & mobile applications. In 2006, he began publishing his photos on the Internet that will shortly be noticed by magazines worldwide. He works with National Geographic, Der Spiegel, Le Monde, Lonely Planet, Times, Grands Reportages... His work on Papua New Guinea tribes was exhibited at the famous festival VISA Pour l'Image in Perpignan, France. With a humanist approach, Eric Lafforgue offers in his pictures and travel stories a positive and benevolent gaze of the countries he visits, often unknown by the public. Eric Lafforgue is a member of the Hans Lucas studio.Source: www.ericlafforgue.com
Giuliano Ottaviani
Giuliano Ottaviani
Italy
Born and raised in Rome, Giuliano is a Lifestyle photographer living and working in Paris, mostly active in the hospitality Industry. When he’s not shooting something for himself or his clients, you will probably find him strolling inside a forest, enjoying adventurous plots in a Movie Theatre with his wife, getting his hands dirty (in the kitchen) or taking care of his beloved Bonsais. At the moment, he is working on two main subjects: a photographic mapping of primary rainforests, which he started in 2017 during a discovery trip to the island of Haida Gwaii in British Columbia, and a photographic series illustrating several arts and crafts.
O. Winston Link
O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Shinji Isobe
Shinji Isobe
Japan
1976
Started street photography in 2009. While traveling in Asia, I mainly work on documentary photography. Exhibitions: Held three photo exhibitions in Japan Artist statement: Started photography in 2009, and currently captures urban landscapes in Japan and abroad through street photography. At the same time, I regularly visit slums in various parts of Asia and record people's daily lives through my lens. Through these activities, I aim to capture moments of joy, suffering, and hope. I am deeply attracted to both street photography and documentary photography. What these two genres have in common is the act of capturing a moment as it is. I am particularly interested in how such fleeting moments can convey people's stories and emotions.
Xiaoping Lin
Xiaoping Lin
China
1972
Xiaoping Lin, a Chinese bird photographer, has been involved in photography since 1992. He has won numerous honors, including the 2025 CEWE Winner, 2022 XPOSURE First Place, 2023 HIPA Merit Medal, 2023 BigPicture Winner, and 2024 NBP Winner. His photographic works have been exhibited in photography shows around the world and published in various magazines and books. His works accurately capture vivid details of bird ecological behavior from a unique perspective, while interpreting the meaning of life through the language of the lens. These images not only inspire audiences to engage in profound philosophical reflections on the laws of nature but also prompt the public to rediscover the majestic charm of the natural world, evoking deep inquiries into the essence of life and the mysteries of nature. He always hopes to convey the beauty of nature through the lens, awaken the public’s deep understanding and aesthetic resonance of nature, and then cherish the ecological environment and fulfill the responsibility of protection. Statement: The scene of “opening the gate to release the tide and egrets catching fish” is a major attraction of Yundang Lake in Xiamen, China. Xiamen has long pursued sustainable ecological civilization, improving bay water dynamics and protecting the marine ecosystem, with the lake area’s environment greatly improved. Every time the tide rises, the gates of the West Embankment in Xiamen are opened to let seawater into Yundang Lake. It is often seen that small fish are rolling and leaping in the surging seawater, and egrets in the air and big fish in the lake are competing for the small fish at the gate - a spectacular sight of "egrets and fish flying together". The series of photography works titled "The Epic of Survival in the Waves - The Life Struggle Between Egrets and Fish" was captured between 2022 and 2025. The speed at which egrets and large fish compete for small fish is so fast that a shutter speed of at least 1/2000 and a high-speed continuous shooting rate of 20 frames per second are required to freeze the thrilling moments. This speed is beyond the reaction time of the human eye. This series of photography works records the most primitive competition in nature from a nearly cold perspective, allowing me to see the most genuine form of life: not the cold law of the survival of the fittest, but the survival epic that every living being is writing with all their might. Those that sparkle in the waves are both the cruel truth of nature and the brilliant light of life that never compromises. I hope these photography works can prompt the audience to deeply reflect on the mysteries of nature and the essence of life, and thereby cherish the ecological environment and fulfill the responsibility of protection. AAP Magazine AAP Magazine 54 Nature
Madhur Dhingra
Madhur Dhingra
India
1958
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion. I still needed to express myself in a different way. I decide to work towards my first solo exhibition and I show my landscapes and mountain work to the management of INDIA INTERNATIONAL CENTRE. After seeing my work they agree to sponsor my show fixing the date to 28th November 1998.It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty. I started a new journey, first shooting Ladakh. I found immense peace and tranquility (acting as a balm for my troubled mind )in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful. I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi (ancient name of Banaras)to cremate their dead at Manikarnika.It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last 3000 years. But it was on this BURNING GHAT that my worst nightmare was to begin. I would visit this ghat daily looking at the activities. It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner. It required two mun wood at the least (mun is an Indian measure of weight equivalent to 20 kgs) to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt. Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. So much for Kashi, our GATEWAY TO HEAVEN.I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds. In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar. It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
Nicolas Tikhomiroff
Nicolas Tikhomiroff
France
1927 | † 2016
Nicolas Tikhomiroff (March 22, 1927 – April 17, 2016) was a French photographer, of Russian origin. He started working for Magnum Photos in 1959. Tikhomiroff was born in Paris to Russian parents. He received his education at a boarding school away from home with children of a similar background. He was trilingual with Russian as his primary language with French, and English as a secondary language. When he reached the age of seventeen, just following the Liberation of Paris, he joined the French army. After finishing his duties he found a job working for a fashion photographer processing prints. In 1956, Tikhomiroff was inspired by French journalist Michel Chevalier and struck out on his own as a freelance photographer. For the next few years, he spent his time traveling with Chevalier to the Middle East, Africa, among other places. In 1959 Tikhomiroff joined Magnum. Most of his work was on wars such as in Cambodia, Laos, and Vietnam. Famous for his work on World Cinema, he also had a large portfolio of war photography. He was married to Shirley Lou Ritchie, by whom he had a daughter, Tamara Joan Tikhomiroff. He retired in 1987 and lived in Provence, France.Source: Wikipedia Nicolas Tikhomiroff was born in Paris to Russian ‘émigrés’ parents. He spent his school years in a special boarding school for children of a similar background: those with Russian as a first language, followed by French. He joined the army at the age of 17 following the Liberation of Paris, then spent several months in Germany, followed by three years in Indochina. After finishing his military service, Tikhomiroff found work in the darkroom of a fashion photographer. Using a Rolleiflex, he began to take photographs for many magazines, including Marie France. In 1956, a decisive encounter with French journalist Michel Chevalier led him to accompany Chevalier as a freelance photographer. This relationship resulted in long trips to the Soviet Union, Africa, and the Middle East. Tikhomiroff joined Magnum in 1959 and completed numerous photo stories on subjects such as the Algerian War, Vietnam, Cambodia, and Laos. He also contributed to an important Magnum project on World Cinema, meeting Orson Welles, Fellini, Visconti, and many others. He developed a close friendship with Welles while photographing the filming of The Trial and Falstaff. Nicolas Tikhomiroff also undertook advertising and fashion assignments. Although he was never a full member of Magnum Photos, his earlier work is still distributed by the agency. Tikhomiroff retired from professional activities in 1987. He lived in Provence in the south of France, where he spent much of his time working on personal projects and essays.Source: Magnum Photos Magnum member Bruno Barbey says of Nicolas: “As well as a very important portraitist of the celebrities of the 60s (Brigitte Bardot, Jeanne Moreau or Edith Piaf, to name a few), Nicolas was also a concerned photographer, covering USSR in 1957 or De Gaulle’s historic visit to Algeria in 1960." “In a certain way, Nicolas epitomized Magnum’s long-standing tradition, producing both a significant personal work on film set photography and covering world news for the agency. To me, his name will always be linked to his iconic photographs of Orson Wells, notably in Spain on the set of Chimes at Midnight.”Source: British Journal of Photography
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