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Carlos Chavarria
Carlos Chavarria
Carlos Chavarria

Carlos Chavarria

Country: Spain
Birth: 1985

Although Carlos Chavarria was born and raised in Madrid, Spain, his photography is strongly influenced by both the classic American documentary Photography and the New color American Photography, unlike the classic genres Carlos uses this aesthetic in his work to explore more conceptual subjects that are directly related to his own experience, moving away from the classic objective documentary approach. Common elements like isolation, identity or references to “the intermediate” are often found in his work. Carlos holds a Masters program in Photography from the European University of Madrid and in 2010 he was selected as one of the best emerging photographers to participate in the international award "Descubrimientos PhotoEspaña 2010",right after that he moved to San Francisco to continue working in his Photography, since that he's shown his work in several galleries and venues in Spain, France and United States, and has worked for magazines like TIME, Monocle, Sunset or Bloomberg Business Week among others.

Website

www.carloschavarria.com

 

Inspiring Portfolios

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

Mark Citret
Mark Citret
United States
1949
Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968 and received both his BA and MA in Art from San Francisco State University. Most of Citret's work is not specific to any locale or subject matter. Still, he has worked on many photographic projects over the course of his career and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York's Catskill Mountains. In the mid to late 1980s, he produced a large body of work with the working title of "Unnatural Wonders", which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing "Coastside Plant", a massive construction site in the southwest corner of San Francisco. Since he moved to his current home in 1986, he has been photographing the ever-changing play of ocean and sky from the cliff behind his house. Currently, he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus. He has taught photography at the University of California Berkeley Extension since 1982 and the University of California Santa Cruz Extension since 1988, and for organizations such as the Center for Photography at Woodstock, the Ansel Adams Gallery, and Santa Fe Workshops. His work is represented by prominent photography galleries in the United States, and is in many museums, corporate, and private collections, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the New Orleans Museum of Art, the Santa Barbara Museum of Art, the University of Arizona's Center for Creative Photography, and the Monterey Museum of Art. A monograph of his photographs, Along the Way, was published by Custom & Limited Editions, San Francisco, in 1999. He lives in Daly City, California. About Parallel Landscapes
Esther Bubley
Esther Bubley
United States
1921 | † 1998
Esther Bubley was an American photographer who specialized in expressive photos of ordinary people in their everyday life. She worked for several agencies of the American government and her work was also featured in multiple news and photographic magazines. Bubley was born in Phillips, Wisconsin, the fourth of five children of Russian Jewish immigrants Louis and Ida Bubley. In 1936, while Esther was a senior at Central High School in Superior, Wisconsin, the photo magazine Life first hit the newsstands. Inspired by the magazine, and particularly by the pictures of the Great Depression produced by the Farm Security Administration, she developed a passion for photojournalism and documentary photography. As editor-in-chief of the yearbook, she sought to emulate the style of Life. After high school, Bubley spent two years at Superior State Teachers College (now the University of Wisconsin–Superior) before enrolling in the one-year photography program at the Minneapolis School of Art (now the Minneapolis College of Art and Design). After college in 1941, Bubley moved to Washington, D.C. seeking work as a photographer. Failing to find a job in Washington, Bubley moved to New York City. During the 1941 Christmas season, she landed a position at Vogue in New York, but she didn't like the work. Early in 1942, she returned to Washington when she was offered a job as a microfilmer for the National Archives and Records Administration. In the fall of 1942, Roy Stryker hired her as a darkroom assistant at the Office of War Information (OWI), where his photographic unit had recently been transferred from the Farm Security Administration. With the encouragement of Stryker, and some of the more senior photographers, she moved to take pictures for the OWI historical section, documenting life on the home front during the war. Her most challenging assignment was a noted series on the bus system in the Midwest and South. In late 1943, when Stryker left the OWI to work on a public relations project for the Standard Oil Company (New Jersey), she accompanied him, along with other photographers, including Gordon Parks and John Vachon. The Bus Story series she produced for Standard Oil, a reprise of her earlier Bus Story for the OWI, earned the award for Best Picture Sequence in the Encyclopædia Britannica/University of Missouri School of Journalism "News Pictures of the Year" in 1948. During this period, she was briefly married to Edwin Locke, Stryker's administrative chief, but they soon divorced. By 1947, Bubley was expanding her horizons beyond Stryker and Standard Oil. She began working for the Children's Bureau, a federal child welfare agency. Over the next several years, she contributed thousands of images to their files, and her work appeared on more than thirty covers of their journal The Child. In 1949, Bubley's photo essay on mental illness for the Ladies' Home Journal was given the first place award for a feature in the Encyclopædia Britannica/University of Missouri School of Journalism contest, winning Bubley a second set of the Encyclopedia. She continued working for the Ladies' Home Journal, producing a dozen photo stories for their celebrated series "How America Lives," which ran intermittently between 1948 and 1960. In 1951, Bubley began to freelance for Life, eventually contributing 40 photo stories, including two cover stories. Bubley was one of the first women to successfully support herself by working as a freelance photographer for major magazines. In 1951, she also produced a series on the Pittsburgh Children's Hospital for Stryker, who was then establishing the Pittsburgh Photographic Library. Edward Steichen, Directory of Photography at the Museum of Modern Art (MoMA), used 13 prints from this series in the 1952 exhibition Diogenese with a Camera. He also mounted and displayed her contact sheets to show how she used every frame. This series led to medical themes becoming a major part of her portfolio. In 1953, she was hired by UNICEF and the French government to travel to Morocco to photograph a program to treat trachoma, an infectious disease that causes blindness. Bubley entered a photo from this assignment in the international division of a contest sponsored by Photography magazine in 1954. She became the first woman to win first place, and she received a trophy depicting a male photographer. In 1955, Steichen included her work in his monumental The Family of Man exhibition. A year later, Pepsi-Cola International hired Bubley to cover Latin America for their company magazine Panorama. In the mid-1960s, Pan American World Airways sent her around the world twice to make images for their corporate photographic library. In the late 1960s, Bubley reduced her workload as sales of photographic magazines declined, and she wearied off the grueling travel schedule. She spent more time at home in New York City where she pursued projects of personal interest, producing two children's books about animals and a book featuring macro photography of plants. A devoted animal lover, she spent her mornings in Central Park walking her dog, taking photographs, and making notes that she hoped to turn into a book about the park. In 1991 the Minneapolis College of Art and Design awarded Bubley an honorary doctorate. She died in New York City, of cancer, on March 16, 1998. In 2001 a retrospective exhibition of Bubley's work appeared at the UBS Art Gallery in New York City. In 2005 Aperture Foundation published a monograph about Bubley, Esther Bubley: On Assignment by photographic historian Bonnie Yochelson with Tracy A. Schmid, archivist for the Bubley Estate. In 2010, the Library of Congress published the monograph Fields of Vision: The Photographs of Esther Bubley.Source: Wikipedia
Marcus Bleasdale
Marcus Bleasdale
United Kingdom
1968
Marcus Bleasdale is a British photojournalist, born in the UK to an Irish family. He spent over twelve years covering the conflict within the borders of the Democratic Republic of Congo and the work was published in his book One Hundred Years of Darkness, his second book The Rape of a Nation addressed the issues of the conflct being fuelled by natural resource exploration and was awarded the best photojournalism books of the year in 2009 by POYi in the USA. His work on human rights and conflict has been shown at the United States Senate, US House of Representatives, The United Nations and the Houses of Parliament in the UK. He works regularly with Human Rights Watch, Medecins Sans Frontieres and other NGOs to highlight health and human rights issues in several countries. He works to cover issues which are underreported by mainstream media. In 2007, Human Rights Watch and the Open Society Institute awarded Bleasdale a grant to continue his work on justice and accountability in the DRC. Bleasdale is currently based in Oslo, Norway with his wife Karin Beate and is an owner and member of VII Photo. Source Wikipedia
Sayaka Maruyama
Sayaka Maruyama
Japan
1983
Sayaka Maruyama's practice traverses the mediums of photography, film, drawings, installation and performance. Drawing on classical Japanese references and Surrealist motifs, her work explores contradictory contemporary understandings of Japanese notions of beauty, from both Western and Eastern perspectives. Maruyama primarily gained notoriety for her Japan Avant-Garde series, in which the artist intertwined digitally manipulated images with elements of paper collage and watercolour paint to create intricate, multi-layered imagery, extolling a sense of beauty. Maruyama was born in Japan in 1983, and graduated from the Art University of Japan in 2005, when she began her renowned Neon O'Clock Works project. Her first monograph, entitled Krageneidechse, was published in 2007, the year she moved to London. Maruyama has exhibited widely in London and Tokyo, and her images have been published in periodicals including The British Journal of Photography, Silvershotz magazine, the Financial Times Magazine and Eyemazing.
Germaine Krull
Germaine Krull
Germany
1897 | † 1985
Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
Carl De Keyzer
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
Fan Ho
Fan Ho
China
1931 | † 2016
Fan Ho’s (born in Shanghai in 1931) photographic career started at the early age of 14 when given his first Kodak Brownie from his father. Within the first year he won his first award in 1949 in Shanghai. At the age of 18, he acquired his twin lens Rolleiflex with which he captured all his famous work after he moved to Hong Kong with his parents and continued to purse his love for photography. Dubbed the “Cartier-Bresson of the East”, Fan Ho patiently waited for ‘the decisive moment’; very often a collision of the unexpected, framed against a very clever composed background of geometrical construction, patterns and texture. He often created drama and atmosphere with backlit effects or through the combination of smoke and light. His favorite locations were the streets, alleys and markets around dusk or life on the sea. What made his work so intensely human is his love for the common Hong Kong people: Coolies, vendors, hawkers selling fruits and vegetables, kids playing in the street or doing their homework, people crossing the street… He never intended to create a historic record of the city’s buildings and monuments; rather he aimed to capture the soul of Hong Kong, the hardship and resilience of its citizens. Fan Ho was most prolific in his teens and 20s and created his biggest body of work before he reached the tender age of 28. His work did not go by unnoticed at his time. He won close to 300 local and international awards and titles in his day through competing in the salons. His talent was also spotted by the film industry where he started out as an actor before moving to film directing until retiring at 65. Fan Ho is a Fellow of the Photographic Society and the Royal Society of Arts in England, and an Honorary Member of the Photographic societies of Singapore, Argentina, Brazil, Germany, France, Italy and Belgium. He most recently won a "Life-time Achievement Award, the 2nd Global Chinese International Photography Award, China, 2015" by the Chinese Photographic Society (Guangzhou). During his long career he has taught photography and film making at a dozen universities worldwide. His work is in many private and public collection of which most notable are: M+ Museum, Hong Kong, Heritage Museum, Hong Kong, Bibliothèque National de France, Paris, France, San Francisco Museum of Modern Art, USA, Santa Barbara Museum of Art, USA and many more. Source: fanho-forgetmenot.com
Habip Koçak
Habip Koçak
Turkey
1969
I was born in 1969 in Tarsus/Turkey. I graduated from Çukurova University, Department of Mathematics. In 1995, I started working as a Research Assistant at Marmara University. After 25 years, I resigned and moved to England. I am currently working as a Senior Researcher at the Oxford Center of Technology and Development. In photography, I try to produce Documentary Photography, which I think is in the middle of life. Recently, I produced projects named "Obscure", "Kakava - Behind the Scene" and "I Can't Breathe". As of October 2020, my book titled "Unsuzler", which includes street portraits I produced in the previous years has been published. I am currently a member of RPS (Royal Photographic Society), OPS (Oxford Photographic Society) and IFSAK.
Michal Cala
Michal Cala
Poland
1948
Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF – the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and various private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape Biennale in Kielce twice, 1979 and 1983 and won the first prise at the Pilsner International Photo Awards in the Industrial category in 2007. His work from Galicia series and the Paysages de Pologne exhibition was shown in France in 1980's. The Silesia exhibition was shown widely in Katowice (1984, 2002, 2008), Krakow (1986, 2006), Warsaw (1986, 2009), in Enschede, the Netherlands, (2012), at the Photo Biennale Mannheim – Ludwigshafen – Heidelberg (2007) and part of group project at the Noorderlicht Photo Festival in the Netherlands (2008). In 2007 he was classified as one of most important Polish photographers in last century and participated in the group exhibition Polish Photography in XX Century (Warsaw, Poland and Vilnius, Lithuania). In the same year, Cala's photography was featured in British Journal of Photography and Foto8 magazine. Publications on his work include The Anthology of Polish Photography 1839 – 1989, The Masters of Polish Landscape and The Polish Photography in the 20th Century. His past exhibition Metropolis on Silesian urban landscapes was held at the Silesian Museum in Katowice in 2013 and a solo show Silesia and Galicia in the Museum of History of Photography in 2016 in Krakow (Poland). His photo book based on the same series was recently selected in the Open Submission at Belfast and Athens Photo Festivals respectively (2017). The latest solo exhibition at MMX Gallery; SILESIA 1975-1985, was the first time his work has been shown in UK.MMX Gallery about the exhibition Silesia 1975-1985 Michal Cala is regarded as one of the most important Polish photographers of the last century. Cala started taking pictures in his youth and has been working professionally as a photographer for nearly 40 years. Silesia is an industrial district in Poland which at the time of 1970's and early 1980's was experiencing its peak of development and activity. Although providing massive employment for the area, the environmental issues were ignored. Stepping off the train, Cala encountered the other-worldly landscape for the first time and decided this is what he wanted to make of photographic record of. Fascinated by the subject matter, he devoted himself to photographing the Silesian landscape between 1975 – 1992, which resulted in the series entitled Silesia (Śląsk in Polish). Cala's photography took on various influences ranging from surrealism, which inspired a movement in Poland called "fotografia kreacyjna" (creative photography), and the realism of British New Wave cinema of the late 1950's and early 1960's. Poland's isolation during the Cold War made it very difficult for photographers to obtain artistic publications. However, some Czech and Polish magazines were publishing Western photographers work such as Edward Weston, Bill Brandt, Robert Frank and Diane Arbus who acted as a window for inspiration. Cala was influenced by landscape, reportage and social documentary photography, which he always portrayed in his personally stylised images. In Poland, political and material conditions were harsh under Soviet influence. Using a basic 35mm Exa 500 camera, he managed to produce images of such a lyrical beauty only to be emphasised again with a dark graphic printing style, to further enhance his vision of the sometimes-apocalyptic looking landscape before him. A single house surrounded by huge cooling towers, majestic slagheaps, lonely figures microscopic when compared to the massive scale of industrial surroundings are subtle metaphors of living in a communist reality. The majority of photographs in the exhibition are vintage silver gelatin prints, made by Cala at the time they were taken.Source: MMX Gallery
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