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Zisis Kardianos
Zisis Kardianos
Zisis Kardianos

Zisis Kardianos

Country: Greece
Birth: 1962

Zisis Kardianos (1962 born in Greece) studied documentary photography in the Focus School in Athens and Sociology in the American College of Greece. He is a founding member of the international photography collective Burn My Eye and a contributing photographer of the Millennium photo agency. His images have been published on travel and photography magazines, on book covers and they have been shown in solo and group exhibitions, in Greece and abroad. His work focuses on the mysterious nuances and the strange coincidences of life as they are unfolding in the public sphere of his home town, of various Greek cities and the countries of Europe’s south. He uses photography as a way to explore and understand the world. His images are often snapshots taken on the fly. As he claims, “they are less about a specific subject and more about the experience of seeing”. In 2012 he self-published his book “A sense of place”

Websites

www.zisiskardianos.blogspot.gr

www.flickr.com

 

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Erwin Blumenfeld
Erwin Blumenfeld
Germany/United States
1897 | † 1969
Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
Lu Nan
Lu Nan
China
1962
Lu Nan is a contemporary photographer who was born in Beijing, China in 1962. After working for National Pictorial for 5 years, he decided to become an independent photographer. From 1989 to 1990, he shot a series of images of the living conditions of patients in Chinese mental hospitals. From 1992 to 1996, he shot a series of images about Catholicism in China. From 1996 to 2004, he shot a series of images of the daily life of Tibetan farmers. Lu Nan is known as "the most legendary photographer in China". He is also the only Chinese contemporary photographer chosen by Aperture magazine as a topic colon. Lu Nan is constantly invited to participate in numerous exhibitions; however, he is extremely selective about the exhibitions he is involved with. Lu also refused to have his portrait taken by others, so it’s very rare to see any photo documentations of him. For fifteen years, Lu has been leading a life that is almost like a monk, spending his time working and studying, as he believes that “good stuff comes out of reticence.” Since 1989, Lu Nan has spent 15 years completing his trilogy of photographic series: The Forgotten People, China's Catholicism and Four Seasons in Tibet. These images have allowed Nan to place himself in the international spotlight. But perhaps more importantly, he became one of the first people who exposed another side of Chinese society; people often considered outcasts. “I just respect them and care about them… They are the same as us,” said Lu as a reminder that all human beings are equal and deserve dignity. His black and white photographs depict people within their own environment by using a rather straight glance, which is yet associated with delicate contrasts and elegant compositions.Source: Wikipedia Correspondent for the prestigious international cooperative Magnum Photos since the 1990s, Lu Nan 呂楠 (born in 1962 in Beijing) is an independent photographer who has been documenting marginalized people in China. His pivotal series started in 1989 with The Forgotten People: The Condition of China’s Psychiatric Patients. Pursing his intentions to document Chinese people from the margins of society, his subsequent series captured members of the Catholic Faith (On The Road: The Catholic Faith in China, 1992-1996), peasants’ life in Tibet (Four Seasons: Everyday Life of Tibetan Peasants, 1996-2004), and prisoner’s conditions (Prisons of North Burma, 2006).Source: photographyofchina.com “In 15 years, not a day went by when I didn’t question my own work,” says Chinese photographer Lu Nan, in an interview included in his new book Trilogy. “That’s why I scrutinize what I was doing by means of reading. This mode of assessing action through thought and assessing thought through action helped me to complete these projects." “The trilogy is concerned with human beings. I hope that by looking into real life, I’ll find something fundamentally and enduringly human.” Lu Nan isn’t well known outside China but this book, his first in English, should change all that. It collects together three projects he shot over 15 years – The Forgotten People, a look at the lives of Chinese psychiatric patients, shot from 1989-1990; On the Road, a look at the lives of Catholics in China, shot from 1992-96; and Four Seasons, a look at the lives of rural Tibetans, shot from 1996-2004. These microcosms are apparently very different and yet, to Lu Nan, they’re intimately interrelated. Inspired by image-makers such as Josef Sudek and Sebastiao Salgado and extremely well-read, Lu Nan says the three projects represent the three states of life – The Forgotten People is about suffering and adversity, On the Road purification, and Four Seasons about a blessed, serene state.Source: British Journal of Photography
William Gottlieb
William Gottlieb
United States
1917 | † 2006
William Paul Gottlieb was an American photographer and newspaper columnist who is best known for his classic photographs of the leading performers of the Golden Age of American jazz in the 1930s and 1940s. Gottlieb's photographs are among the best-known and widely reproduced images of this era of jazz. Gottlieb made portraits of hundreds of prominent jazz musicians and personalities, typically while they were playing or singing at well-known New York City jazz clubs. William Gottlieb's subjects included Louis Armstrong, Duke Ellington, Charlie Parker, Billie Holiday, Dizzy Gillespie, Earl Hines, Jo Stafford, Thelonious Monk, Stan Kenton, Ray McKinley, Benny Goodman, Coleman Hawkins, Louis Jordan, Ella Fitzgerald, Toots Thielemans, and Benny Carter. Gottlieb was born on January 28, 1917, in the Canarsie neighborhood of Brooklyn, and grew up in Bound Brook, New Jersey, where his father was in the building and lumber business. He graduated from Lehigh University in 1938 with a degree in economics. While at Lehigh, Gottlieb wrote for the weekly campus newspaper and became editor-in-chief of The Lehigh Review. In his last year of college, he began writing a weekly jazz column for the Washington Post. While writing for the Post, Gottlieb taught economics at the University of Maryland. After the Post determined that it would not pay a photographer to accompany Gottlieb's visits to jazz clubs, Gottlieb borrowed a press camera and began taking pictures for his column. William P. Gottlieb was drafted into the Army Air Corps in 1943 and served as a photography and classifications officer. After World War II, Gottlieb moved to New York City to pursue a career in journalism. He worked as a writer-photographer for Down Beat magazine, and his work also appeared frequently in Record Changer, the Saturday Review, and Collier's. In 1948, Gottlieb retired from jazz journalism in order to spend more time with his wife, Delia, and children. After Gottlieb left Down Beat, he began working at Curriculum Films, an educational filmstrip company. He founded his own filmstrip company, which was later bought by McGraw Hill. Many of his filmstrips won awards from the Canadian Film Board and the Educational Film Librarians Association. Gottlieb also wrote and illustrated children's books, including several Golden Books such as The Four Seasons, Tigers Adventure, and Laddie the Superdog. He also wrote educational books such as Science Facts You Won't Believe and Space Flight. Apart from his photography career, William Gottlieb also played amateur tennis. Gottlieb and his son Steven were often ranked the number one father-and-son ream on the East Coast and were twice ranked among the top ten teams in the US. Gottlieb married the former Delia Potofsky, daughter of Jacob Potofsky. They had four children, Barbara, Steven, Richard, and Edward. Gottlieb died of complications of a stroke on April 23, 2006, in Great Neck, New York. In accord with Gottlieb's wishes, his photographs were placed in the public domain. Many of his pictures are used in Wikipedia and other public domain or freely licensed venues.Source: Wikipedia It was the love of music that brought the superlative photography of William P. Gottlieb to the world’s attention. Originally a writer and jazz columnist, William figured that columns accompanied with photographs might give him a better chance to be published. During the late 30’s he began photographing jazz musicians to illustrate articles he wrote for the Washington Post. His weekly feature “Swing Sessions” was probably the first jazz column in a major newspaper. He simultaneously had radio programs on WRC/NBC and on a local station WINX. At the age of 22 he was Washington’s “Mr.Jazz”. After WWII, he became the assistant editor of “Downbeat” where, again, he took photos to augment his writing. At both The Post and Downbeat he was only paid just for writing, not for pictures. In 1948, he left the jazz field for a career in publishing with Britannica and McGraw Hill and it wasn’t until his retirement that he resurrected his old jazz photos and in 1979, published The Golden Age of Jazz, now in its 12th edition of printing. In a review of the book, The New Yorker wrote, “Gottlieb stopped photographing jazz musicians in 1948… No one has surpassed him yet.” Today he is still regarded as one of the top jazz photographers of all time. Although he never resumed taking jazz photos, his photographs have become our most widely reproduced jazz illustrations, having four US postage stamps, 250 record album covers, and having appeared in over 160 exhibitions around the world. He is represented in the National Portrait Gallery, and his photos were an essential part of the PBS Jazz series by Ken Burns. In 1995, The Library of Congress purchased 1,600 of his jazz photos “for posterity” and in 1997 he became the first and only photographer to receive the Downbeat Lifetime Achievement award.Source: Gallery 270
Marie-Laure Vareilles
Marie-Laure Vareilles
France
1966
- Testify to the variety of cultures on our planet.Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILOAll about Marie Laure Vareilles:AAP: When did you realize you wanted to be a photographer?It was not my dream.AAP:Do you have a mentor?I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.AAP: How long have you been a photographer?I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.AAP: What or who inspires you? Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.AAP: How could you describe your style?I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.AAP: What kind of gear do you use? Camera, lens, digital, film?Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.AAP: Do you spend a lot of time editing your images?Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !AAP: Favorite(s) photographer(s)?They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.AAP: Your best memory has a photographer?I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!AAP: Your worst souvenir has a photographer?I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.
Liu Zheng
Liu Zheng
China
1969
Liu Zheng was born in 1969 in the Hebei Province, China. His signature graytone photographs have for years starkly framed, in political and provocative situations, his human subjects. When he works in colour, the tones are awash in sepia or a doctored saturation that comments on the nostalgic nature of his topics – his Peking Opera series in particular reflects this. Liu's background is not rooted in arts . After majoring in optical engineering at the Beijing Institute of Technology, he joined a local paper as a photojournalist, where he covered the coal mining industry. This laid the foundation for his interest in the lives of the countrymen that toil endlessly; one of his first series as an artistic practitioner explored the lives of ethnic minorities and our perception of them. He continues to eke out of the histories and stories of his subjects and topics in photography, and has published several volumes of his series. Liu Zheng's work has been exhibited in solo shows including Dream Shock, Three Shadows Photography Art Center, Beijing, China (2013); Dream Shock, Zen Foto Gallery, Tokyo, Japan (2009); Liu Zheng: The Chinese, Williams College Museum of Art, Williamstown, MA (2008); Liu Zheng: Survians, SOHO New Town, Beijing, China (2005); Liu Zheng: The Chinese, Yossi Milo Gallery, New York, NY (2005); Liu Zheng, Rencontres Internationales de la Photographie, Arles, France (2003); The Chinese, Central Academy of Fine Arts Museum, Beijing, China (2001); and Three Realms and The Chinese, Taipei Photo Gallery, Taipei, Taiwan (1998). His works have also featured in group shows including the Minsheng Art Museum in Shanghai, China; Smart Museum of Art in Chicago, IL; The J. Paul Getty Museum, Los Angeles, LA; San Francisco Museum of Modern Art, San Francisco, CA; Mori Art Museum, Tokyo, Japan; Asia Society and Museum, New York, NY; the Victoria and Albert Museum, London, England; and Chambers Fine Art, Beijing, China. He has also participated in the 50th Biennale di Venezia in Venice, Italy and the International Center of Photography Triennale, New York. His work is in the collections of the Guy and Miriam Ullens Foundation, Geneva, Switzerland; the Metropolitan Museum of Art, New York, NY; Uli Sigg Collection, Mauensee, Switzerland; and the Museum of Contemporary Art, Los Angeles, CA. He currently lives and works in Beijing, China.
Rashod Taylor
Rashod Taylor
United States
1985
Rashod Taylor is a fine art and portrait photographer whose work addresses themes of family, culture, legacy, and the black experience. He has earned notable attention for his ongoing longform photo series Little Black Boy; in it he documents his son's life while examining the Black American experience and fatherhood. Taylor attended Murray State University and received a Bachelor's degree in Art with a specialization in Fine Art Photography. Taylor has since exhibited and published nationally and internationally. Most recently his "Little Black Boy" series was acquired by the Museum of Fine Arts Houston and received the 2021 Arnold Newman Prize For New Directions in Photographic Portraiture. Taylor was also a 2020 Critical Mass Top 50 Finalist, winner of Lens Culture's Critics Choice award and a 2021 Feature Shoot Emerging Photography Awards winner. Taylor's editorial clients include National Geographic, The Atlantic, Essence Magazine and Buzzfeed News, among others. His work has also been included in Feature Shoot and Lenscratch among others. Rashod Taylor lives in Springfield, MO, with his wife and son.
Nat Fein
Nat Fein
United States
1914 | † 2000
Nathaniel Fein (August 7, 1914 – September 26, 2000) was a photographer for the New York Herald Tribune for 33 years. Fein is known for photographing Babe Ruth towards the end of his life, winning the 1949 Pulitzer Prize for his photograph The Babe Bows Out. Fein was born and raised on the Lower East Side of Manhattan. He was a press photographer at the New York Herald Tribune from 1933 to 1966. Known for setting a scene correctly, he would climb buildings and bridges to get the shot he was after. Fein's main subject matter was New York following World War II. Albert Einstein, Ty Cobb, Queen Elizabeth and Harry S. Truman were among the many public figures that he photographed. Nat Fein won more press photo awards than any of his contemporaries. Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken "the most celebrated photograph in sports history." -- The New York Times, 1992. A resident of Tappan, New York, Fein died on September 26, 2000, at the age of 86.Source: Wikipedia Babe Bows Out", photograph of Babe Ruth during a ceremony at Yankee Stadium to retire his number, 13 June 1948 (This photo won the 1949 Pulitzer Prize for photography) © Nat Fein / Public Domain Babe Ruth’s dominating influence changed the game itself. He became the face of the New York Yankees and embodied the ethos of the game of baseball, American sports culture, and New York heritage. In Babe Bows Out photographer Nat Fein captures the beloved athlete and showman in an image that has become synonymous with the immensity of its subject. Nat Fein began to work for the New York Herald Tribune as a copyboy in 1932. After investing in a camera years later, he became a press photographer for the paper, creating a working relationship that lasted 33 years. While working as a staff photographer at the Tribune, Fein had not been assigned to work on the day that the New York Yankee’s would retire Babe Ruth’s number three jersey. On the day when the Yankees would celebrate the 25th anniversary of the Yankee stadium and retire “The Great Bambino’s” number, the mainstay sports photographer for the Tribune called in sick. Thus, on June 13 of 1948, Nat Fein was set out to cover what many suspected could be Babe Ruth’s last public appearance. While other press photographers attempted to capture a portrait of the great American baseball hero wearing his uniform one last time, Nat Fein, tried to capture the iconic number on his jersey, stating: “All the photographers were in the front, and I wanted to see how he looks from the back. So I figured, well, number three is out. The Babe bows out…” – Nat Fein The final image is filled with emotion, a bidding farewell to the greatest player in baseball. Among an interminable crowd of onlookers and accompanied by current Yankees players, Ruth bows out in the stage where his legendary mythology was created. At the time of the photograph in 1948, Babe Ruth had not played for the Yankees for over a decade. Ruth had also been ill for some time, and his appearance had changed; his thin legs and face showed signs of his fragile condition. Fein’s photograph, instead of highlighting the aged features of the passing of time or sickness, captures the silhouette of the baseball giant. The picture presenting Ruth with his classic number three jersey underlines the monumental influence he exuded over the game and New York. The image not only symbolizes a sports hero but a man who was larger than life. His rough childhood with frequent visits to orphanages and hospitals, his kindness to black baseball players in a time of racial inequity, his fondness to volunteer his time for kids sick with Polio, and his larger physique, generate empathy in his farewell photograph. The photograph presents a poetic image that connects us through its resounding human and empathetic quality, connecting the viewer to an unwavering American hero. Babe Bows Out eventually became the first sports photograph to win the Pulitzer Prize. It cemented the importance of the medium of photography. It is considered one of Time Magazine’s 100 most influential images of all time and is featured in the National Baseball Hall of Fame and the Smithsonian Institute. Never surrendering to sickness or ill-health, the photograph commemorates the hometown hero. It immortalizes the strong and imposing Babe Ruth as the towering figure we remember and speak of today. A man whose recognition has reigned supreme over baseball, New York, and the world of sports for over 100 years. Nat Fein’s Babe Bows Out is one of the most excellent images of baseball lore.Source: Holden Luntz Gallery
Joan-Ramon Manchado
Joan-Ramon Manchado
Spain
1967
Joan-Ramon Manchado is a sculptor and photographer, based in Barcelona. In 2018 he began photographing people in public spaces of different cities around the world, sometimes including the urban context and other times avoiding it to give maximum prominence to human beings. Although he does not renounce digital photography, he is especially interested in the materiality of the photographic object and in traditional techniques that allow him to experiment in the different phases of the process. Passers-by is the first work that he publishes. It was awarded in the Portfolio Review of the Revela'T Festival 2021 and has been a finalist in the Lens Culture Black and White Photography Awards and in the Fotonostrum Portrait Award. Passers-by "No one pays heed to the apparently abstruse fact that other people are also living souls." - Fernando Pessoa (The book of Disquiet) "I usually photograph people in the street; passers-by I come across with when I’m walking in different cities around the world. Photography allows me to capture an underlying dimension that I could hardly perceive with the naked eye. It’s a hybrid process that begins with digital capture and ends with the completion of the blueprint, whose monochromatic tones and loss of detail contribute to emphasize the most essential of the images. This way, without imposture or context, Passersby’s faces are revealed to me in an unequivocally transcendent manner." -- Joan-Ramon Manchado
Alireza Sahebi
Alireza Sahebi
Iran
1994
Alireza Sahebi is an Iranian portrait photographer born in 1994. He became interested in photography as a teenager and when he started working in a photography studio. He then continued his studies in the field of visual communication at the University of Art and Architecture. He chose portrait photography because of his interest in exploring and recognizing the spirits and inner thoughts of human beings. He continues to photograph using different genres because it is a unique language with many dialects and it allows him to communicate with people around the world. Statement Have you heard a sound louder than the sound of your eyes? The eyes are alive٫ they understand٫ they talk٫ they fall in love٫ the eyes are all the existence and non-existence of people. The eyes have an identity card, and if they have the opportunity, they will ruthlessly expel all their presence and absence. I found photography as a way to discover and express the inner selves of human beings and I tried to find a non-verbal, universal and meaningful language and I did not find it except in my eyes
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AAP Magazine #39 Shadows
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