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Tatiana Ilina
Tatiana Ilina
Tatiana Ilina

Tatiana Ilina

Country: Russia/United States

Documentary Photographer, Photojournalist.
Have been working in these fields for more than 12 years in different countries around the world.
After receiving a Masters Degree in Journalism/Social Media/News Production from International Independent Ecological-Political University, graduated from Rodchenko Moscow School of Photography and Media Arts.
Subsequently, graduated from ESEC Professional School in the field of film and audiovisual techniques. Recently, completed degrees with courses in Advertising and Art-direction from the School of Visual Arts in New York.

Sometimes art can change how people see the world, but I want to change how the world sees people.

Through my imagery, I am passionate about giving a voice to the voiceless - shining a light on those whom society has often placed in darkness.
I was brought to photography by cinema when I was 20 years old, and I was fascinated by the new wave in French movies, in particular by films of Jean Luc Godard.
His films immersed me in a special, unlikely reality while watching them I understood that I wanted to stop the moments to capture reality and tell the stories with my photographs. I have traveled around the world, working in different countries, creating social documentaries and art projects allowing me to look at things from the other side.

Websites

www.tatianailina.com

@tianailina

 

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David Hurn
David Hurn
United Kingdom
1934
David Hurn is a British documentary photographer and member of Magnum Photos. Hurn was born on 21 July 1934 in Redhill, Surrey, England. He was raised in Cardiff, Wales. Because of his dyslexia he joined the school camera club. After leaving school he headed for London, hoping to become a photographer. Hurn is a self-taught photographer. He began his career in 1955 when he worked for Reflex Agency. He gained his reputation as a photojournalist for his documentation of the Hungarian revolution of 1956, and is featured in two of Ken Russell's films for the Monitor television arts' series, A House in Bayswater (1960), and Watch the Birdie (1963). In 1965 he became associated with Magnum Photos and became a full member in 1967. In 1963, Hurn was commissioned by the producers of the James Bond films to shoot a series of stills with Sean Connery and the actresses of From Russia with Love. When the theatrical property Walther PPK pistol didn't arrive, Hurn volunteered the use of his own Walther LP-53 air pistol. The pistol became a symbol of James Bond on many film posters of the series. In 1967 Dino de Laurentiis asked Hurn to travel to Rome to shoot photos of Jane Fonda in Barbarella. Hurn returned to Wales in the late 1960s, initially living in a van for a year photographing the country. He was married from 1964-71 to American actress Alita Naughton (1942-2019), best known for her role in Ken Russell’s French Dressing (1964). In 1973 he set up the School of Documentary Photography in Newport, Wales. Eventually, he turned away from documentary photojournalism, bringing a more personal approach to his image making. He says, "There are many forms of photography. I consider myself simply a recorder of that which I find of interest around me. I personally have no desire to create or stage direct ideas." His book, Wales: Land of My Father (2000), illustrates the traditional and the modern aspects of Wales. In 2001 he was diagnosed with colon cancer but made a full recovery. He continues to live and work in Wales, and has donated a collection of photographs taken by him and other leading contemporary photographers, including Henri Cartier-Bresson, Eve Arnold, and Bill Brandt, to the National Museum of Wales. Hurn has been an avid collector of photography. Remarkably, he has amassed his private collection by swapping works with other photographers. The collection National Museum Cardiff comprises approximately 700 photographs. Swaps: Photographs from the David Hurn Collection, National Museum Cardiff, Wales, September 2017 – April 2018. In 2017 Hurn donated 1500 of his photographs, and 700 of other peoples' photographs, to Amgueddfa Cymru – National Museum Wales. He built his private collection of other peoples' work by swapping prints with them. National Museum Cardiff held an exhibition of the latter collection in 2017/2018, entitled Swaps: Photographs from the David Hurn Collection.Source: Wikipedia
Deborah Turbeville
Deborah Turbeville
United States
1938 | † 2013
Deborah Turbeville was born in 1938, in Boston. Summers were spent in Ogunquit, Maine. 'Beautiful Place by the Sea' is the oceanside township's motto. 'Very bleak, very stark, very beautiful,' was Turbeville's description of it. Life was comfortable - she went to private school. Yet her mother described her as a 'shy and scary child'. Which is as it should be. The uneasy shuffle of ambiguity is the essence of Turbeville and her work - which itself shuffles between fashion magazine and art gallery, never fully at peace in either place. Like her near contemporaries, Helmut Newton and Guy Bourdin, she rethought and recast fashion photography in the 1970s. Perhaps even more than those two louche Europeans, though, she injected narrative and mystery into what is, after all, an unabashedly commercial process. Her pictures are as much riddles as they are images. Consciously damaged goods, they are blurry, grainy, tormented into painterly colours, scratched, marked, sellotaped - post-production work often done with her long-term assistant and collaborator Sharon Schuster. 'I destroy the image after I've made it,' said Turbeville. 'Obliterate it a little so you never have it completely there.' It's a quite un-American world, a view through the rear window, fascinated by the beaten, worn and forgotten. She has photographed her own house in Mexico as if she were a time-travelling visitor in her own intimate landscape, slightly drunk in exploration and contemplation of the rooms and their objects - tin retablos, wooden boxes, a painted carving of the Virgin Saint Maria Candelaria. She has photographed old Newport and the lost St Petersburg. One of her books was called 'Les Amoureuses du Temps Passe' - (female) lovers of times past. 'The idea of disintegration is really the core of my work.' When Jackie Onassis commissioned her to photograph the unseen Versailles, the late president's wife urged the photographer to 'evoke the feeling that there were ghosts and memories.' Turbeville began by researching the palace's 'mistresses and discarded mistresses', then photographed not just the palace's grand chambers and vistas but its store rooms and attics. She came to photography late. Arriving in New York at 19, with dreams of a stage career, she worked as a model and assistant to Claire McCardell - the fashion designer who brought wool jersey and denim to the catwalk. She joined Harper's Bazaar in 1963, working with its fashion editor, Marvin Israel, and his crew of photographers which included Diane Arbus, Richard Avedon and Hiro. She took her first pictures in Yugoslavia in 1966. They were blurry. She showed them to Avedon. He liked them, blurs and all. So he taught her technique. In 1972, she became a photographer. Like other adventurous photographers of the era, she worked for Nova magazine. She took some pictures for Vogue of girls in bikinis at a cement works. 'The most revolutionary pictures of the time,' said Conde Nast's editorial director Alexander Liberman. The work that made her name was the 'bathhouse' series she took for American Vogue in 1975 - fashion photographs of barely dressed women, wet and languid, almost kitsch. The oddest thing, though, is the sense that the women are prisoners - of what is not clear, of course. It's been said they look like they're in gas chambers. 'I go into a women's private world, where you never go,' Turbeville said. 'It's a moment frozen in time. I like to hear a clock ticking in my pictures.' If one of photography's most honourable impulses is to subvert - or flee from - the medium's inherent voyeurism, Turbeville collapses this paradox by succumbing to it. Victorian academic paintings presented unclothed women in bathing pools as if the painter were not there - the illusion of pornography. Turbeville's naked, wet women are under no such illusion. They know the photographer is there. They acknowledge her presence. They maybe even watch us, the viewer. The bathouse pictures were collected, with others, in her 1978 book 'Wallflower' - arrestingly and sympathetically designed by her mentor, Israel. In it are all the essentials of her work: a feeling that you are somewhere in the past; a languid, barely sexual sexuality; white, willowy women; distressed prints; a luminous quality; a sense of a narrative interrupted. Yet she's a jobbing photographer, too. She's worked for American Vogue and its British, French, Italian, and Russian counterparts. She's done ads for Ungaro, editorial photographic essays for Harper's Bazaar and portraits of Julia Roberts for the New York Times Magazine. She wears black, mostly. She has reddish hair. She has homes in Mexico, New York and Russia. She teaches in Russia. She's been married at least once. When she lived in Paris, at the turn of the 1980s, she'd rummage through the streets every evening, between 6 and 8 o'clock. 'I'm a voyeur,' she said. (Source: Pete Silverton - www.professionalphotographer.co.uk)
Stephen Wilkes
Stephen Wilkes
United States
1957
Since opening his studio in New York City in 1983, photographer Stephen Wilkes has built an unprecedented body of work and a reputation as one of America's most iconic photographers, widely recognized for his fine art, editorial and commercial work. His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Carl & Marilynn Thoma Art Foundation, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum and numerous private collections. His editorial work has appeared in, and on the covers of leading publications such as the New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, Sports Illustrated , and many others. Wilkes' early career interpretations of Mainland China, California's Highway One, and impressionistic "Burned Objects" set the tone for a series of career-defining projects that catapulted him to the top of the photographic landscape. In 1998, a one-day assignment to the south side of Ellis Island led to a 5-year photographic study of the island's long abandoned medical wards where immigrants were detained before they could enter America. Through his photographs and video, Wilkes helped secure $6 million toward the restoration of the south side of the island. A monograph based on the work, Ellis Island: Ghosts of Freedom, was published in 2006 and was named one of TIME magazine's 5 Best Photography Books of the Year. The work was also featured on NPR and CBS Sunday Morning. In 2000, Epson America commissioned Wilkes to create a millennial portrait of the United States, "America In Detail," a 52-day odyssey that was exhibited in New York, Chicago, Los Angeles, and San Francisco. Day to Night , Wilkes' most defining project, began in 2009. These epic cityscapes and landscapes, portrayed from a fixed camera angle for up to 30 hours capture fleeting moments of humanity as light passes in front of his lens over the course of a full day. Blending these images into a single photograph takes months to complete. Day to Night has been featured on CBS Sunday Morning as well as dozens of other prominent media outlets and, with a grant from the National Geographic Society , was extended to include America's National Parks in celebration of their centennial anniversary and Bird Migration for the 2018 Year of the Bird. Most recently a new grant was extended for Canadian Iconic Species and Habitats at Risk in collaboration with The Royal Canadian Geographic Society. Day to Night : In the Field with Stephen Wilkes was exhibited at The National Geographic Museum in 2018. Day to Night was published by TASCHEN as a monograph in 2019. Wilkes' work documenting the ravages of Hurricanes Katrina and Sandy has brought heightened awareness to the realities of global climate change. He was commissioned by the Annenberg Space for Photography to revisit New Orleans in 2013 after documenting Hurricane Katrina for the World Monuments Fund. And, his images were exhibited with his photographs on Hurricane Sandy in the 2014 Sink or Swim, Designing for a Sea of Change exhibition. Wilkes directorial debut, the documentary film, Jay Myself , world premiered at DOCNYC in November 2018. The film is an in depth look into the world of photographer Jay Maisel and his move out of his 35,000 sq. foot building at 190 Bowery. Oscilloscope Laboratories has acquired the North American rights and the film opened at Film Forum in New York in July, 2019 Wilkes was a speaker at the TED2016: Dream Conference on his Day to Night series. The talk has over 1.6 million views. In 2017 Wilkes was commissioned by the US Embassy, Ottawa to create a Day to Night photograph of Canada's 150th anniversary of Confederation. Despite his intense dedication to personal projects, Wilkes continues to shoot advertising campaigns for the world's leading agencies and corporations, including: Netflix, OppenheimerFunds, SAP, IBM, Capital One, The New Yorker, Johnson & Johnson, DHL, American Express, Nike, Sony, Verizon, IBM, AT&T, Rolex, Honda. He has a robust following on Instagram of more than 500,000. Wilkes' extensive awards and honors include the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from Adweek Magazine, Fine Art Photographer of the Year 2004 Lucie Award, TIME Magazine Top 10 Photographs of 2012, Sony World Photography Professional Award 2012, Adobe Breakthrough Photography Award 2012 and Prix Pictet, Consumption 2014. His board affiliations include the Advisory Board of the S.I. 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Jagjit Singh
Jagjit Singh
India
1974
I am a freelance travel photographer based at Chandigarh - the foothills of the Shivalik range of the Himalayas in northwest India. In this continuous endeavour of self-learning, tried to portray the moments that my eyes appreciated. Always strive to capture the beauty of the nature which can be a feast for the eyes. India is a land of many cultures and religions. It has always been a integral part of the Indian traditions. They portray the rich cultural heritage of this country. I love to click the spectrum of Indian festivals/fairs with their significance.
Andrea Finocchi
Andrea Finocchi
Italy
Andrea Finocchi was born in Rome in 1985, he studied at the University La Sapienza nursing and began working as an instrumentalist in the operating room. After the pandemic he became passionate about street photography dedicating a large part of his time to this art form, winning in 2021 the first prize at the Paris International Street Photo Awards, in the beach & pool category.
Raymond Depardon
Raymond Depardon
France
1942
Raymond Depardon, born in France in 1942, began taking photographs on his family farm in Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left for Paris in 1958. He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the Gamma agency, reporting from all over the world. From 1974 to 1977, as a photographer and film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad. Alongside his photographic career, he began to make documentary films: 1974, Une Partie de Campagne and San Clemente. In 1978 Depardon joined Magnum and continued his reportage work until the publication of Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came out and stayed on the programme of a cinema in the Latin Quarter for seven months. In 1984 he took part in the DATAR project on the French countryside. While still pursuing his film-making career, he received the Grand Prix National de la Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the French justice system, received a César Award for best documentary, and in 1998 he undertook the first in a series of three films devoted to the French rural world. The Maison Européenne de la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his work on French justice was shown as part of the official selection at the Cannes Film Festival in 2004. As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and 2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d'Arles. He is working on a photographic project on French territory which is due to be completed in 2010. He has made eighteen feature-length films and published forty-seven books. Source: Magnum Photos Raymond Depardon (born 6 July 1942 in Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. Depardon is for the most part a self-taught photographer, as he began taking pictures on his family's farm when he was 12. He apprenticed with a photographer-optician in Villefranche-sur-Saône before he moved to Paris in 1958. He began his career as a photojournalist in the early 1960s. He travelled to conflict zones including Algeria, Vietnam, Biafra and Chad. In 1966, Depardon co-founded the photojournalism agency Gamma, and he became its director in 1974. In 1973 he became Gamma’s director. From 1975 to 1977 Depardon traveled in Chad and received a Pulitzer Prize in 1977. The next year he left Gamma to become a Magnum associate, then a full member in 1979. In the 1990s, Depardon went back to his parents’ farm to photograph rural landscapes in color, and then in 1996 published a black-and-white road journal, In Africa. In May 2012, he took the official portrait of French President François Hollande. Source: Wikipedia
Hiroshi Sugimoto
Hiroshi Sugimoto
Japan
1948
Hiroshi Sugimoto was born in Tokyo, Japan, in 1948, and lives and works in New York and Tokyo. His interest in art began early. His reading of André Breton’s writings led to his discovery of Surrealism and Dada and a lifelong connection to the work and philosophy of Marcel Duchamp. Central to Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time. This theme provides the defining principle of his ongoing series, including "Dioramas" (1976–), "Theaters" (1978–), and "Seascapes" (1980–). Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He uses his camera in a myriad of ways to create images that seem to convey his subjects’ essence, whether architectural, sculptural, painterly, or of the natural world. He places extraordinary value on craftsmanship, printing his photographs with meticulous attention and a keen understanding of the nuances of the silver print and its potential for tonal richness—in his seemingly infinite palette of blacks, whites, and grays. Recent projects include an architectural commission at Naoshima Contemporary Art Center in Japan, for which Sugimoto designed and built a Shinto shrine, and the photographic series, "Conceptual Forms," inspired by Duchamp’s "Large Glass: The Bride Stripped Bare by her Bachelors, Even." Sugimoto has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts; in 2001, he received Hasselblad Foundation International Award in Photography. He has had one-person exhibitions at the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; Contemporary Arts Museum, Houston; Museum of Contemporary Art, Chicago; and Hara Museum of Contemporary Art, Tokyo; among others. Hirshhorn Museum and Sculpture Garden, Washington, DC, and Mori Art Museum, Tokyo, were joint organizers of a 2005 Sugimoto retrospective. Source: PBS Hiroshi Sugimoto was born in Japan in 1948. A photographer since the 1970s, his work deals with history and temporal existence by investigating themes of time, empiricism, and metaphysics. His primary series include: Seascapes, Theaters, Dioramas, Portraits (of Madame Tussaud’s wax figures), Architecture, Colors of Shadow, Conceptual Forms and Lightning Fields. Sugimoto has received a number of grants and fellowships, and his work is held in the collections of the Tate Gallery, the Museum of Contemporary Art, Chicago, and the Metropolitan Museum of New York, among many others. Portraits, initially created for the Deutsche Guggenheim Berlin, traveled to the Guggenheim New York in March 2001. Sugimoto received the Hasselblad Foundation International Award in Photography in 2001. In 2006, a mid career retrospective was organized by the Hirshhorn Museum in Washington, D.C. and the Mori Art Museum in Tokyo. A monograph entitled Hiroshi Sugimoto was produced in conjunction with the exhibition. He received the Photo España prize, also in 2006, and in 2009 was the recipient of the Paemium Imperiale, Painting Award from the Japan Arts Association. During the 2014 Venice Biennale, Sugimoto unveiled his “Glass Tea House Mondrian” at Le Stanze del Vetro on the island of San Giorgio Maggiore. Source: Fraenkel Gallery
Yang Yongliang
Yang Yongliang
China
1980
Born in 1980 in Shanghai, Yang Yongliang graduated from China Academy of Art in 1999, majored in visual communication. He currently works and lives in Shanghai. He started his experiments with contemporary art in 2005, and his practice involved varied media including photography, painting, video and installation. Yang exploits a connection between traditional art and the contemporary, implementing ancient oriental aesthetics and literati beliefs with modern language and digital techniques. His work as an expanding meta-narrative that draws from history, myth and social culture, and plays out in the context of the city and its ever-changing landscapes. He started to learn traditional Chinese art and culture since childhood, the influence of which is seen in the form of his art: a sense of traditional aesthetics can be clearly perceived. In terms of media and content, however, it is brimming with a strong sense of post-modernism. Yang’s work has been exhibited at Moscow Biennale, Ullens Center for Contemporary Art and National Gallery of Victoria among others and is collected by public institutes such as the British Museum and the Metropolitan Museum of Art. Source: Prix Pictet
Antonio Denti
Antonio Denti
Italy
1972
Antonio Denti is an award-winning news cameraman in love with still photography. A Reuters staff video journalist for over 20 years, he covered conflict in Kosovo, Afghanistan, Iraq, Israel, Gaza, Lebanon. He also covered the beginning of the Arab Spring in Tunisia and the epic human migration to Europe across the Mediterranean sea. He often travelled with Popes during their travels, including to Iraq and recently to Canada. He also filmed the aftermath of the death of Pope John Paul II at the Vatican and of Queen Elizabeth II in London. The Kid of MosulAntonio Denti He loves still photography, which he tries to integrate more and more in his moving pictures work. His still pictures have won awards (Ippawards, All About Photo awards, International Photography Awards, Urban Photo Awards, ND Awards, Mifa Awards etc...) and have been published on The Eye of Photography magazine, the Social Documentary Network, LensCulture and other international online photography publications. He strongly believes that visual story-telling can bring a precious contributions to counter the contemporary tendency towards a results-focused, speed-obsessed, screamed and over all standardized journalism and push towards a more authentic, respectful and meaningful way to tell about our world.
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