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Sebastien Tixier
Sebastien Tixier
Sebastien Tixier

Sebastien Tixier

Country: France
Birth: 1980

Born in 1980 in a small town in central France, Sebastien Tixier now lives and works in Paris, France.

Trained as an engineer, the shy fascination that he had during childhood for his father’s camera finally takes over in 2007 when he starts as an independent photographer. Half in the studio, half in the fields, his work goes all the way from the dark corners of staged photographs to documentaries about the questions of our time. His photographs have been awarded by various prices and exhibited in festival or galleries across Europe.

Allanngorpoq his latest work to date, synthetizes one year and a half of preparation (documenting, making contacts, and learning the language) and immersion in Greenland. This photo report combines rigorous framing and aesthetics with a documentary work, capturing the evolutions of both a changing territory and its people. The book from this work has been published on December 2014 and is prefaced by Stéphane Victor.

Website

www.sebtix.com

 

Inspiring Portfolios

Klavdij Sluban
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Vincenzo Barone
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Michael Ackerman
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Morris Engel
Morris Engel
United States
1918 | † 2005
Morris Engel (April 8, 1918 - March 5, 2005) was an American photographer, cinematographer and filmmaker best known for making the first American film "independent" of Hollywood studios, Little Fugitive (1953), in collaboration with his wife, photographer Ruth Orkin, and their friend, writer Raymond Abrashkin. Engel was a pioneer in the use of hand-held cameras and nonprofessional actors in his films, cameras that he helped design, and his naturalistic films influenced future prominent independent and French New Wave filmmakers. A lifelong New Yorker, Morris Engel was born in Brooklyn in 1918. After joining the Photo League in 1936, Engel had his first exhibition in 1939, at the New School for Social Research. He worked briefly as a photographer for the Leftist newspaper PM before joining the United States Navy as a combat photographer from 1941 to 1946 in World War II. After the war, he returned to New York where he again was an active Photo League member, teaching workshop classes and serving as co-chair of a project group focusing on postwar labor issues. In 1953, Engel, along with his girlfriend, fellow photographer Ruth Orkin, and his former colleague at PM, Raymond Abrashkin, made the feature film Little Fugitive for $30,000, shooting the film on location in Coney Island with a hand-held 35 millimeter camera Engel had designed himself. This camera was compact and lightweight so it would be unobtrusive shooting in public. As such, it did not allow simultaneous sound recording; the sound was dubbed later. The film, one of the first successful American "independent films" earned them an Academy Award nomination for Best Writing, Motion Picture Story and a Silver Lion at the Venice Film Festival. The film told the story of a seven-year-old boy, played by Richie Andrusco, who runs away from home and spends the day at Coney Island. Andrusco never appeared in another film, and the other performers were mainly nonprofessional. Though their first film was a critical success, Engel and Orkin, who had since married, had a hard time finding funding for their next film, Lovers and Lollipops, which was completed in 1956. The film was about a widowed mother dating an old friend, and how her young daughter complicates their budding relationship. Like the first one, Lovers and Lollipops was filmed with a hand-held compact 35 mm camera, with sound dubbed in post-production. This was followed two years later by the more adult-centered Weddings and Babies, a film about an aspiring photographer than is often seen as autobiographical. This was Engel's first film to have live sound recorded at the time of filming, and is historically the first 35 mm fiction film made with a portable camera equipped for synchronized sound. In 1961, Engel directed three television commercials, including an award-winning one for Oreo cookies. The other two were for Ivory soap and Fab detergent. A half-hour short film The Dog Lover was made the following year, a comedy about a shop merchant whose life is turned upside down by the stray dog his kid brings home. He made a fourth feature in 1968 called I Need a Ride to California, which followed a group of young hippies in Greenwich Village. Post-production was shelved until 1972 when it was finally completed, but for unknown reasons, it was never released during his lifetime. It finally received its premiere in October 2019 at New York's Museum of Modern Art (MoMA); it was first released on home video in March 2021. In the 1980s, Engel began taking panoramic photographs on the streets of New York City. Engel and Ruth Orkin remained married until Orkin's death in 1985. In the 1990s, he returned to filmmaking, this time working on video. He completed two feature-length documentaries: A Little Bit Pregnant in 1994 and Camellia in 1998, each revolving around a different child in the Hartman family. First, in A Little Bit Pregnant Engel focused on the 8-year-old Leon's reactions, anxiety and wonderment to the impending birth of his baby sister Camellia. For the second film, two years later, Engel returned to the same family, who gave him a year of access to the now 2-year-old daughter Camellia, capturing her daily life and routines, and her relationships with her family and others. Both films were shown in private screenings, but never had a public release due likely to the Hartman family presumably holding the rights. Engel died of cancer in 2005.Source: Wikipedia Morris Engel was born in Brooklyn to immigrant parents from Lithuania. An early interest in photography led him to enroll in a class at New York’s Photo League, a group dedicated to raising social consciousness through modern photography. Some of the most influential photographers of the time were associated with the Photo League; Engel worked closely with Aaron Siskind on the project Harlem Document from 1936-40 and later assisted Paul Strand in filming Native Land. Like many Photo League photographers, Engel documented life in New York City, producing and exhibiting photo essays on Coney Island, the Lower East Side and Harlem. In 1939 he had his first exhibition at New York’s New School. In 1940 he joined the staff of the newspaper PM, but he left the publication one year later to sign on with the U.S. Navy as a member of a combat photo unit. He participated in the D-Day invasion of Normandy. In 1951 Engel momentarily quit still photography to pursue a career in filmmaking. He made a series of low-budget films with a custom 35 mm camera. His first feature film, Little Fugitive (made with his wife, the renowned photographer Ruth Orkin), earned an Academy Award nomination in 1953 for Best Original Screenplay and was screened in more than 5,000 theaters across the United States. Engel’s photographs are widely exhibited and found in the collections of the International Center of Photography (New York), the Museum of the City of New York, the Museum of Modern Art (New York) and the National Portrait Gallery (Washington, D.C.). His films continue to be screened at venues such as the Whitney Museum of Art (New York), the Brooklyn Museum and the American Museum of the Moving Image (New York).Source: American Photography Archives Group
Gilles Peress
Gilles Peress
France
1946
Gilles Peress (born December 29, 1946) is a French photographer and a member of Magnum Photos. Peress began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress’ first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the U.S., Afghanistan, and Iraq. His project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences. Peress’ books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: Srebrenica and Vukovar; A Village Destroyed; and Haines. Portfolios of his work have appeared in the New York Times Magazine, The Sunday Times Magazine, Du magazine, Life, Stern, Geo, Paris Match, Parkett, Aperture and The New Yorker. Gilles Peress’ work has been exhibited and is collected by the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art and MoMA PS1, all in New York; Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C; San Francisco Museum of Modern Art; The J. Paul Getty Museum in Los Angeles; Walker Art Center and Minneapolis Institute of Arts; Victoria and Albert Museum in London; Musée d'Art Moderne de la Ville de Paris, Musée Picasso, Parc de la Villette and Centre Georges Pompidou in Paris; Museum Folkwang, Essen; and Sprengel Museum in Hannover. Awards and fellowships Peress has received include a Guggenheim Fellowship, National Endowment for the Arts grants, Pollock-Krasner and New York State Council on the Arts fellowships, the W. Eugene Smith Grant for Humanistic Photography and the International Center of Photography Infinity Award. Peress is Professor of Human Rights and Photography at Bard College in New York and Senior Research Fellow at the Human Rights Center at UC Berkeley. Peress joined Magnum Photos in 1971 and served three times as vice president and twice as president of the co-operative. He and his wife, Alison Cornyn, live in Brooklyn with their three children.Source: Wikipedia Born in Neuilly-sur-Seine, Gilles Peress made his first photographic series in 1970 after attending the Institut d'Études Politiques (1966-68) and the Université de Vincennes (1968-71). By 1971, he had established himself as a freelance photographer, publishing work in Du, the London Sunday Times, The New York Times Magazine, Photo, and other periodicals. In 1972 he joined Magnum, the international cooperative photography agency founded in 1947 by Henri Cartier-Bresson, Robert Capa, George Rodger, and Chim (David Seymour); he has served twice as the organization's president. A National Endowment for the Arts grant in 1979 allowed him to travel to Iran, where he made the photographs published as Telex: Iran--In the Name of Revolution (1984), his first book. Other major projects include his documentation of the Irish civil war from 1971 to 1979, published as An Eye for an Eye: Northern Ireland (1986), and Hate Thy Brother, an ongoing cycle of photographs documenting the resurgence of extreme nationalism around the world. Peress's work has been included in group exhibitions at the Musée d'Art Moderne in Paris, the Corcoran Gallery of Art, ICP, and elsewhere. He has received, among other honors, a W. Eugene Smith Award, the Ernst Haas Award, a Guggenheim Fellowship, and ICP's Infinity Awards for Journalism in 1995 and for his publication The Silence in 1996. Gilles Peress's photography demonstrates his uncommon ability to navigate and communicate the atmosphere and urgency of volatile political environments. While his early work identified him as a "concerned photographer," his more recent work suggests an increasing concern with form and a more obvious sense of subjectivity. In this respect, Peress's photographs echo the photojournalism of Henri Cartier-Bresson, whose conflation of aesthetics and reportage set the precedent for artistic photojournalism earlier in the century.Source: International Center of Photography
Brad Walls
Brad Walls
Australia
1992
Brad Walls is an Australian aerial photography based in Sydney. Best known for his use of close up top downs, Brad specialises in aerial portraiture and a minimalistic approach to aerial photography. Utilising one of the first consumer drones, Brad Walls stumbled across his passion for aerial content through stitching small video clips together taken during his extensive travels. 18 months on, Brad has refined his skillset, with a vision to strive and see the world from a different angle creating the perfect metaphor for his work. Pools From Above Pools From Above is an ode to the beauty found in the shapes, colours and textures of swimming pools. This unique and never-before-seen perspective uses Walls' clean, minimal aesthetic to visually showcase interesting pools from around the world. Inspired by his travels throughout Southeast Asia and within his own home country of Australia, Walls' journey initially began by capturing the bodies of water simply to document holiday memories. It wasn't until picking up the bestselling Annie Kelly coffee table book Splash: The Art of the Swimming Pool, however, that Walls would start investing time and passion into curating a series, stating that "As I turned each page of Kelly's book, a wave of childhood nostalgia washed over me, spending hours in the pool over summer." Paying powerful homage to Kelly, Walls' series chooses to keenly focus on pools' elements of composition from a bird's eye view. "I fell in love with the lines, curves and negative space of the pools, which - without alternate perspective from a drone - would have been lost." Pools From Above is also an integral part of a much larger project which is aimed at a book release in the not-too-distant future, as Walls says "The response from viewers has been positive, asking for the series to be amongst their coffee table books." Looking ahead, once the world finally re-opens, Walls has no plans of slowing down. He plans to capture even more world-renowned swimming pools across an array of idyllic locations, including Palm Springs, Mexico and the Mediterranean. Since bursting onto the photography scene in early 2019, Walls has gone on to produce award-winning photographs and garner worldwide media attention, with a primary focus on capturing aerial portraits of sportspeople like synchronized swimmers, gymnasts and ice skaters from unique perspectives and angles that audiences are normally unable to see.
Baron Raimund von Stillfried
Baron Raimund von Stillfried
Austria
1832 | † 1911
Baron Raimund von Stillfried, also known as Baron Raimund von Stillfried-Rathenitz (6 August 1839, in Komotau – 12 August 1911, in Vienna), was an Austrian photographer. He was son of Baron (Freiherr) August Wilhelm Stillfried von Rathenitz (d. 1806) and Countess Maria Anna Johanna Theresia Walburge Clam-Martinitz (1802–1874). After leaving his military career, Stillfried moved to Yokohama, Japan and opened a photographic studio called Stillfried & Co. which operated until 1875. In 1875, Stillfried formed a partnership with Hermann Andersen and the studio was renamed, Stillfried & Andersen (also known as the Japan Photographic Association). This studio operated until 1885. In 1877, Stillfried & Andersen bought the studio and stock of Felice Beato. In the late 1870s, Stillfried visited and photographed in Dalmatia, Bosnia, and Greece. In addition to his own photographic endeavours, Stillfried trained many Japanese photographers. In 1886, Stillfried sold the majority of his stock to his protégé, the Japanese photographer Kusakabe Kimbei, he then left Japan. He left Japan forever in 1881. After travelling to Vladivostock, Hong Kong and Bangkok, he eventually settled in Vienna in 1883. He also received an Imperial and Royal Warrant of Appointment as photographer.Source: Wikipedia To many in the West, Japan is an exotic country, seen through the distorting lens of tourist cliches: cherry blossoms, geisha, samurai, kamikaze. In that sense, little has changed since the Meiji Era (1868-1912), when Japan was first promoted abroad as a sort of Oriental theme park. Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium's potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse. A Career of Japan by Luke Gartlan, a lecturer in art history at the University of St. Andrews in Scotland, is the first comprehensive study of Stillfried's extraordinary life and works. Written for an academic readership using the language of critical theory, Gartlan's account of a scandal-prone impresario resonates with contemporary parallels. Baron Raimund Anton Alois Maria von Stillfried-Ratenicz was born in Austria in 1839 and spent his childhood in military outposts on the fringes of the Austro-Hungarian Empire. In 1864, aged 24, he chose life as a cabin boy in a ship headed for Peru instead of an aristocratic military career. By 1868, after a couple of years adventuring in Mexico, fighting a doomed campaign for the Habsburg Emperor, he had set up a photography studio in Yokohama. The rough and ready port town was hosting its first "globetrotters," a word coined locally to describe the new wave of round-the-world tourists, propelled by the 1869 opening of the Trans-American railway and the Suez Canal. One German globetrotter, Margaretha Weppner, recorded her impressions the same year: "The foreigner in Japan leads an expensive, luxurious life. (The climate) requires that liquors should be taken before breakfast, wine, beer, and champagne at breakfast; the same routine before, at, and after dinner, and brandy and soda all day long." In Yokohama, tourism brought a new demand for "curious" and souvenir photos. Baron Raimund von Stillfried specialized in staged studio portraits featuring models decked out as traditional Japanese "types." These striking hand-colored images were widely copied in Western newspapers and became emblematic of Japan. In the same way that the foreign press today fixates on "weird Japan" stories, Stillfried's images, Gartlan argues, were a popular fiction that exploited Western ignorance. Take, for example, Two Officers - used on the cover of A Career of Japan - that purports to show two samurai with their hair in topknots. The photograph was taken in 1875, four years after the traditional hairstyle worn by Japan's warrior class was banned. It was as a paparazzo that Stillfried first achieved notoriety. Hearing that Emperor Meiji was to visit Yokosuka on New Year's Day in 1872 - the first public appearance by a Japanese monarch - Stillfried was determined to take his picture. According to contemporary accounts, he hid on a ship docked next to the Imperial landing area and secretly photographed the divine countenance through a hole in a sail. Government officials reacted with fury when Stillfried brazenly advertised his scoop, ordering a police raid on his studio. Today, only one print survives. Stillfried was threatened with deportation, and the ensuing scandal reverberated around Asia. Shanghai's North China Daily News said that the crack down was "the most foolish thing we have heard of the Japanese." Partly in order to trump Stillfried, the government commissioned an official portrait of the Emperor the same month. Kuichi Uchida's image of "H.I.M. The Mikado" in Western dress was the state's first foray into visual PR. The Meiji regime may have disapproved of Stillfried, but they admired his talents as a propagandist, and hired him six months later to photograph the newly-colonized territory of Ezo (present-day Hokkaido). Stillfried's photos of the Ainu people were displayed at the 1873 Vienna International Exhibition. Referring to a group Ainu portrait, the Japan Gazette of Jan. 23, 1873, said: "The gift of beauty - has not been vouchsafed to the female descendants of Yesso (Ezo) - whose primitive ugliness of feature is artificially increased by moustachios [sic] tattooed along the upper lip." A separate image of two of the same figures was hand-colored by Stillfried. Gartlan notes that "the selective addition of colors emphasizes the women's tattoos, a traditional practice soon to be banned by the Japanese government." Stillfried's Hokkaido photos may have been displayed in the Japanese pavilion in Vienna but the man himself was barred from joining the official delegation to his home country, due to the lingering scandal over his photo of the Emperor. He reacted with typical bravado by erecting an imitation Japanese teahouse in the exhibition grounds, staffed by teenage Japanese girls imported from Yokohama. The press reacted with thrilled prudence. "How innocent the term (teahouse) sounds to us, but what amount of shame it entails in Japan!" the official exhibition journal reported, while the Chicago Daily Tribune referred to the "Yokohama Belles" as "by no means virgins." Gartlan argues that the teahouse was a respectable project, but the scandal was enough to close it down, leaving Stillfried almost bankrupt. One employee later alleged that the photographer beat his workers, evicted the girls at gunpoint and tried to have the teahouse burned down in order to claim insurance. Returning to Yokohama in 1874, Stillfried's career faltered amid growing competition from Japanese photographers whom he had personally trained, and who were happier to portray their country as a modern nation. His final return to Viennese high society in 1883 coincided with the peak of the European craze for Japan-inspired art - culminating in "The Mikado" and "Madame Butterfly" - that his souvenir photographs had helped to create 15 years earlier. Stillfried's heavily romanticized images had, in Gartlan's words, a "vast impact on how the West perceived Japan at the time." His legacy can still be seen today. Western fantasies of Japan continue to draw on anachronistic assumptions about the country - from ornamental women to picturesque teahouses - and equally inaccurate images of a "futuristic" nation (one where fax machines have no place). Modern-day parallels can also be seen in the book's depiction of Stillfried's expat experiences: the battles with bureaucracy, the government propaganda, the conflicted approach to foreigners - and the drinking.Source: Japan Times
Michael Eastman
Michael Eastman
United States
1947
Michael Eastman has established himself as one of the world's leading contemporary photographic artists. The self-taught photographer has spent five decades documenting interiors and facades in cities as diverse as Havana, Paris, Rome, and New Orleans, producing large-scale photographs unified by their visual precision, monumentality, and painterly use of color. Eastman is most recognized for his explorations of architectural form and the textures of decay, which create mysterious narratives about time and place. Eastman's photographs have appeared in Time, Life, Art in America, Art News, Art Forum, Communication Arts and American Photographer, and they reside in the collections of The Metropolitan Museum of Art, the International Center of Photography, The Art Institute of Chicago, the Los Angeles County Museum of Art, and other prestigious institutions. His books include Havana (2011, Prestel), Vanishing America (2008, Rizzoli) and Horses (2003, Knopf). Source: www.eastmanimages.com
Lisa Holden
Lisa Holden
United Kingdom
1961
Lisa Holden is a British-born artist based in Amsterdam, Netherlands. Her earlier visual work explores notions of the self as a series of estranged identities-guises adopted and appropriated, and dependent upon context. She combines digital imagery with hand-painted layers to create 'parallel realities', referring to the exploration of displacement, adoption and the reinvention of identity as a necessity for survival. Holden's large-scale, 'digitally flawed' painting-photographs interpret and react to our super-fast-paced, technologically driven society. The result is the artist's depiction of a psychological spiral into more personal fracturing of identity, multiple transformations, and a more isolated self and society. New works clearly bear the stamp of Holden's recent interest in Victorian painting and literature in which richly colored fantasies and hallucinations were often opiate-engendered. These influences manifest themselves in images of actual dreamscapes she recalls on waking--in other words, instinctual wishes of a body and mind desiring to get out. Source www.iphotocentral.com
Alexander Anufriev
Alexander Anufriev
Russia
1988
Alexander Anufriev is a Russian photographer, born in Ukhta (Komi Republic, Russia) in 1988. Before photography, Anufriev worked in international advertising agencies. Currently, he is a Moscow-based photographer who works on projects describing and analysing social landscape of contemporary Russia. Alexander Anufriev’s Russia Close-Up series is a zoomed-in look at what makes a modern Russia, through a highly subjective lens. He got the idea for it while he was studying at The Rodchenko Art School in Moscow, after becoming disillusioned with documentary photography. “At the time, it was important for me to tell stories and for them to be the truth, but it started to feel like a little bit of a lie,” he explains. “Even if you’re trying to be totally objective, it is always a bit subjective." “I stopped shooting for six months, and I was about to quit photography, but then I thought, ‘What if I tried to be completely subjective?’ So I cropped the images very tightly, and included only the elements I wanted to show. It was a farewell to convention.” Unconventional it may be, but the series has already had some success, exhibited in Cardiff, Sydney, and Saint Petersburg, and winning third place in the Moscow Photobookfest Dummy book award. Anufriev’s past projects have included a series on homeless people celebrating New Year’s Eve in a Moscow train station, and portraits of market sellers on the city’s streets. But for this project, he wanted find a way to visualise the mood of a whole country. Born in 1988, he doesn’t remember life in the Soviet Union, behind the Iron Curtain. But over the last few years, against a backdrop of political apathy, he has began to realise the underlying forces of patriotism and nationalism in modern Russia. This series is an attempt to bring the image of Russia up to date, he says. “There are inner processes that are not obvious to the rest of the world,” he adds, “the strengthening of censorship and propaganda. This series is an attempt to visualise these processes.”Source: British Journal of Photography
Joel Bernstein
Joel Bernstein
United States
1952
Joel Bernstein is a photographer, guitarist, and record producer based in Oakland, California. His photographs have appeared as the album covers to, among others, After the Gold Rush, 4 Way Street, Rita Coolidge, Wind on the Water, Running on Empty, CSN, Bob Dylan at Budokan, Rust Never Sleeps, Shadows and Light, and Hard Promises. His photographs have been published in Time, The New York Times, and Rolling Stone, among other publications, and there have been retrospective exhibits of his work in New York City, San Francisco, Los Angeles, and London. As a guitarist, he is most noted for support work to his friends David Crosby and Graham Nash, both individually and on their Crosby & Nash records. He has acted as co-producer and archivist with Nash for Crosby, Stills, Nash & Young, and is responsible with Nash for the compilation and production of the box sets Voyage for Crosby, Reflections for Nash, Carry On for Stephen Stills, and CSNY 1974 for the band's tour of that year.Source: Wikipedia Joel Bernstein is an acclaimed rock photos photographer whose work, spanning four decades, chronicles the inner lives and public moments of some of the most important singer-songwriters, performers and musicians of our time. They include Joni Mitchell, Neil Young, Bob Dylan, Bruce Springsteen, David Crosby, Stephen Stills, Graham Nash, Prince, Jackson Browne, Laura Nyro, Tom Petty and many others. Bernstein also became a close friend and musical collaborator with many of his other subjects, playing and singing on their albums and concert tours. But his most important work remains his up-close-and-personal photographs of these singular artists. His preferred method has been to spend as much time as possible with his subjects until the right instant–the perfect moment of intimacy–reveals itself. Bernstein’s many album covers are commonly listed among the most influential in rock's visual history. His first, at age 18, was Neil Young's After the Gold Rush, often cited in Best Album Covers Of All Time lists. His work was featured in the album cover for Joni Mitchell's Hejira, nominated for a Grammy Award for Best Album Cover. Bernstein’s work was also the inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. In 2018, Bernstein received a Distinguished Lifetime Achievement Award by the International Photography Hall of Fame.Source: Morrison Hotel Gallery Bernstein's work is well known within the world of music, and is included in the permanent collection of the Rock & Roll Hall of Fame and Museum. His work was a key inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. His many album covers are commonly listed among the most influential in rock's visual history. He has been published in a wide spectrum of books on music, musicians, and the music business, as well as in Time, The New York Times and Rolling Stone. He was profiled in MOJO, the esteemed British music publication, which extensively featured his photos of Neil Young. Bernstein maintains that his unique perspective on these artists is the result of spending so much time with them that he was there to observe and capture those unique “perfect moments of intimacy” when they revealed themselves, not by some preconceived set-up. He is currently based in Oakland, California.Source: San Francisco Art Exchange
Antonio Masiello
Antonio Masiello
Italy
1987
Antonio Masiello was born in Rome on 1987. Journalist since 2013, he documented the Kosovo and Lebanon for the foreign mission of Italian army between 2013 and 2014. On 2015 he began a collaboration with the photo agency Nurphoto, for which he follows the main international news. His works are currently published in the main foreign magazines, among others: TIME Magazine, The Wall Street Journal, Newsweek USA and Europe, The week USA, Vanity Fair USA, Fortune, Mashable, Frankfurter Allgemeine, The Guardian, The Times, The independent, Die Zeit Magazine, The Sun, The Telegraph, Internazionale, Panorama. With his work on the refugees in Greece, he won the Award of Excellence at the Picture of the year international (POYi) and is a Finalist in the LensCulture Exposure. He is based and works in Rome.
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