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Claudio Allia
Claudio Allia
Claudio Allia

Claudio Allia

Country: Italy
Birth: 1962

Claudio Allia (1962), is an Ophthalmologist, jazz and classical music producer, and an amateur awards-winning photographer living in Sicily. Music and photography have always been his main passions that he has cultivated all his life since childhood. Fascinated by fine art and conceptual photography, at early 90's Claudio began to devote himself to the creation of photographic projects and series trying to transfigure and filter most disparate social themes, even the most crude and brutal, through his personal sensitivity and imagination.

Since 2005, started to experiment with new visual and creative approaches into his photographic world, exploring and developing as well his knowledges in the digital editing field and spacing his body of work from fine art to surrealistic or conceptual photo collections/series up to pure social/documentary photography.

Slum Glam series
Despite the harsh living conditions I have recognised the high level of dignity shown by the Mathare residents and my Slum Glam series attempted to depict this. A hand painted, makeshift wooden chair rests in front of a multi coloured shack wall that the women have decorated using brightly coloured designs wearing their best clothes to pose for my camera.

Flower Pots series (Mathare Valley Slum - Nairobi)
"Now we go into the vulnerable realm of an impossible privacy, constantly threatened and modified by all that's happening outside; rooms as decorated trenches of a never-ending battle; 9 square meters where to try a claustrophobic but worthy independence, where to keep dignity at low cost. Now focus in the flowerpots; the picture is a transparent flowerpot allowing you to check every corner of these rooms... look again: the dwellers are the flowers." --Claudio Torres

Remote Control series (Mathare Valley Slum – Nairobi)
For the Remote Control series some of the children of Mathare joined me on a photo shoot, turning up well dressed and carrying a favourite, or only toy. As they walked through the area of corregated dwellings I handed them a remote control i had brought withme in preparation and they instinctively grasped the significance and started pointing it towards areas that they wished to see change to improve their existence.

Website

www.claudioallia.it

 

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Adolphe Braun
Adolphe Braun
France
1812 | † 1877
Jean Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, Braun used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history. Braun was born in Besançon in 1812, the eldest child of Samuel Braun (1785–1877), a police officer, and Marie Antoinette Regard (born 1795). When he was about 10, his family relocated to Mulhouse, a textile manufacturing center in the Alsace region along the Franco-German border. He showed promise as a draftsman, and was sent to Paris in 1828 to study decorative design. In 1834, he married Louis Marie Danet, who he had three children with: Marie, Henri, and Louise. That same year, Adolphe, alongside his brother Charles, opened the first of several unsuccessful design partnerships. After several unsuccessful design ventures in the 1830s, Adolphe Braun published a successful collection of floral designs in 1842. Upon the premature death of his wife 1843, Braun sold his Paris studio and moved back to Mulhouse, where he became chief designer in the studio of Dollfus-Ausset, which provided patterns for textiles. He remarried to Pauline Melanie Petronille Baumann (1816–1885) on 12 December 1843 and had two more children with her; son Paul Gaston and daughter Marguerite. In 1847, he opened his own studio in Dornach, a suburb of Mulhouse. In the early 1850s, Braun began photographing flowers to aid in the design of new floral patterns. Making use of the recently developed collodion process, which allowed for print reproduction of the glass plates, he published over 300 of his photographs in an album, Fleurs photographiées, in 1855. These photographs caught the attention of the Paris art community, and Braun produced a second set for display at the Paris Universal Exposition that same year. In 1857, Adolphe Braun formed a photography company, Braun et Cie, and with the help of his sons, Henri and Gaston, and several employees, set about taking photographs of the Alsatian countryside. These were published in 1859 in L’Alsace photographiée, and several were displayed at the 1859 Salon. By the 1860s, the Braun et Cie studio was operating in a factory-like manner, producing all of its own materials except paper. The studio created thousands of stereoscopic images of the Alpine regions of France, Germany, Switzerland, and Italy. Braun also produced a number of large-format panoramic images of the Alpine countryside, using the pantoscopic camera developed by English inventors John Johnson and John Harrison. Photography historian Naomi Rosenblum described Braun's work as representative of the relationship between art and commercialism in the mid-19th century. His self-sustaining Mulhouse studio helped elevate photography from a craft to a full-scale business enterprise, producing thousands of unique images which were reproduced and marketed throughout Europe and North America. Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States. Braun's early photographs were primarily of flowers, originally taken to complement his work as a pattern designer. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many landscape photographers during this period, Braun liked to include people in his scenes. Photography historian Helmut Gernsheim suggested that Braun was one of the most skillful photographers of his era in rendering composition. While not known as a portraitist, he did take portraits of several notable individuals, including Pope Pius IX, Franz Liszt, and the Countess of Castiglione, mistress of Napoleon III. Braun's work has been exhibited at the Metropolitan Museum of Art, The J. Paul Getty Museum, the George Eastman House, and the Musée d'Orsay. His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works on the history of photography.Source: Wikipedia Trained as a fabric designer, Adolphe Braun began his photography career in 1853. His photographs of flowers, for a catalog titled Fleurs photographiées, were to be transferred onto printing blocks for wallpaper and fabric designs. It was an extremely successful project for Braun; one album of the photographs was presented to Empress Eugénie of France, and it earned him a medal at the 1855 Paris Exposition Universelle. By the early 1860s, Braun's focus had shifted to the making of topographical views of scenes throughout Europe and, beginning in 1866, to reproductions of works of art. The reproduction of paintings, drawings, lithographs, engravings, and sculpture was an important endeavor in France, and photography provided an accurate record. Braun opened a photography studio that became one of the world's largest publishers of such images. In 1869 Braun's was one of only two photographic firms invited to photograph the opening of the Suez Canal in Egypt.Source: The J. Paul Getty Museum
Laia Abril
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
Dayanita Singh
Dayanita Singh
India
1961
Dayanita Singh is an Indian photographer whose primary format is the book. She has published fourteen books. Singh's art reflects and expands on the ways in which people relate to photographic images. Her later works, drawn from her extensive photographic oeuvre, are a series of mobile museums allowing her images to be endlessly edited, sequenced, archived and displayed. Stemming from her interest in the archive, the museums present her photographs as interconnected bodies of work that are full of both poetic and narrative possibilities. Singh's first foray into photography and bookmaking came through a chance encounter with tabla player Zakir Hussain, when he invited her to photograph him in rehearsal after she was shoved by an aggressive official while attempting to shoot him in concert. For the six winters following, Singh documented several Hussain tours and, in 1986, finally published the images in her first book, Zakir Hussain. Referring to him as her first "true guru", Singh believes that Hussain taught her the most important of all skills: focus. "Read, read, read. Forget studying photography – just go and study literature. Then you will bring something to the photography." -- Dayanita Singh, The Guardian, 2014 Singh's second book, Myself Mona Ahmed was published in 2001, after more than a decade spent on assignment as a photojournalist. A mix of photobook, biography, autobiography and fiction, this 'visual novel' emerged as a result of her refusal to be the subject of what could have been a routine but problematic photojournalistic project as well as her discomfort with the West's tendency to view India through simplistic, exotic lenses. In the years following, publishing has been a significant part of Singh's career. She has created multiple "book-objects" – works that are concurrently books, art objects, exhibitions, and catalogues—often in collaboration with the publisher Gerhard Steidl in Göttingen, Germany. These include Privacy, Chairs, the direction-changing Go Away Closer, the seven-volume Sent a Letter, Blue Book, Dream Villa, Fileroom and Museum of Chance. Sent a Letter was included in the 2011 Phaidon Press book Defining Contemporary Art: 25 years in 200 Pivotal Artworks. Steidl said in a 2013 interview on Deutsche Welle television, "She is the genius of book making". Dream Villa was produced during her Robert Gardner Fellowship in Photography given annually by the Peabody Museum of Archaeology and Ethnology at Harvard University; Singh was its second recipient in 2008. The "book-object" medium has allowed Singh to explore her interest in the poetic and narrative possibility of sequence and re-sequence, allowing her to create photographic patterns while simultaneously disrupting them. Her books rarely include text; instead she lets the photographs speak for themselves. These ideas are furthered through her experimentation with alternate ways of producing and viewing photographs to explore how people relate to photographic images. Singh has created and displayed a series of mobile museums, giving her the space to constantly sequence, edit, and archive her images. These mobile museums stemmed in large part from Singh's interest in archives and the archival process. Her mobile museums are displayed in large wooden architectural structures that can be rearranged and opened or closed in various ways. Each holds 70 to 140 photographs that Singh rearranges for each show so that only a portion of the photos or parts of each image are visible at any given time, capitalizing on the interconnected and fluid capacity of her work while allowing ample opportunity for evolving narratives and interpretations.Source: Wikipedia Dayanita Singh’s art uses photography to reflect and expand on the ways in which we relate to photographic images. Her recent work, drawn from her extensive photographic oeuvre, is a series of mobile museums that allow her images to be endlessly edited, sequenced, archived and displayed. Stemming from Singh’s interest in the archive, the museums present her photographs as interconnected bodies of work that are replete with both poetic and narrative possibilities. Publishing is also a significant part of the artist’s practice: in her books, often made in collaboration with Gerhard Steidl, she experiments with alternate forms of producing and viewing photographs. Here, Singh’s latest is the “book-object,” a work that is concurrently a book, an art object, an exhibition and a catalogue. This work, also developing from the artist’s interest in the poetic and narrative possibility of sequence and re-sequence, allows Singh to both create photographic sequence and also simultaneously disrupt it.Source: dayanitasingh.net
Sarah Sasani
Sarah Sasani
Iran
1985
Sarah Sasani was born in 1985 in Tehran. She is graduated in the research of art and sociology. She has activated photojournalism in domestic and foreign newspapers and newsagents since 2003. She has had four solo exhibitions and has participated in more than fifty domestic and foreign virtual festivals and group exhibitions like Austria, France, American, Italy, Belgium, Georgia, and Germany and she has gained three prestigious national festivals. And also she is a professor in the field of sociology of art and photography at the universities of Art and Sociology. Monotony by Sarah Sasani
Andrea Bettancini
Andrea Bettancini
Italy
1966
I was born in a small seaside town in the northern Adriatic (Italy). A place crowded with tourists in the summer, deserted and abandoned in the foggy winters. In short, a place of contrasts. Contrast is what fascinates me the most in photography. All of my schooling was focused on creativity, starting with attending an art high school and then studying fashion design at the European Institute of Design in Milan. I worked as a designer for several clothing brands in Milan and collaborated with an architecture magazine under the Mondadori publishing group. Photography has always been a passion of mine, starting from the days spent in the darkroom. I prefer photojournalism, street photography, and in general, visual storytelling through the merging and contamination of images that develop a symbolic language rather than an analytical one. I am attracted to human interactions that generate unpredictable, complex, dramatic, or humorous situations. It often happens that people, even strangers, connect for a single moment, they are unaware, but a photograph can "freeze" that ephemeral moment, full of meaning. I was a finalist in the professional documentary section of the Sony Awards 2022, winner of the ND Awards 2022 for long exposure photography, a finalist in the Urban Photo Awards 2022 and 2023 (portfolio), a finalist in the Siena Awards 2022, a finalist in the World Water Day 2022 contest, a finalist in the Siena Awards 2023, and a finalist in the Leica Street Photography Contest 2023 and All About Photo Awards 2023. I have also won Best Author at major Italian FIAF competitions (Follonica, Truciolo d'oro, Cameri, Murlo, Brugine, etc.)
Francis Haar
Francis Haar
Hungary
1908 | † 1997
Francis Haar born as Haár Ferenc was a Hungarian socio-photographer. He studied interior architecture at Hungarian Royal National School of Arts and Crafts between 1924 and 1927. His master was Gyula Kaesz.He started working as an interior architect and poster designer in 1928, and taught himself photography. In 1930 he became acquainted with Munka-kör (Work Circle) led by socialist avant-garde poet and visual artist Lajos Kassák, who just returned from Vienna. Kassák pointed out that the photography is more than the painting and can access to such part of reality that cannot be accessed by painters. Kassák's motto was photography is the real child of our age not the painting. That was a life long inspiration to Francis. He became an active and leading member of the Munka Kör, his partners in socio-photography were among others Sándor Gönci, Árpád Szélpál and Lajos Lengyel, who later became renowned graphic artist and book designer. The first socio photo exhibition ever in Hungary was held in 1932, which brought the first success to Francis. His first photo studio was opened in Budapest in 1934. Some of his photos were exhibited at the Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne in 1937, so Francis Haar decided to move to Paris where he established himself as a portrait photographer. However in 1939 he was invited by Hiroshi Kawazoe to Japan and the International Cultural Society of Japan (Kokusai Bunka Shinkokai) officially arranged his trip. With help of Japanese friends he opened and operated his photo studio in Tokyo between 1940 and 42. The Haar family was evacuated to Karuizawa in 1943 and they spent 3 years there. He became the photographer of Yank, the Army Weekly magazine of the U.S. occupation forces in Japan, and subsequently filmmaker with U.S. Public Health and Welfare Section (1946-48). Again his Tokyo photo studio was opened in 1946 and was in active business until 1956. His wife Irene opened the famous restaurant Irene's Hungaria in Ginza, downtown Tokyo, which was frequented by celebrities, intellectuals, army men and sports people from all over the world besides the Japanese. Accepting a challenge he moved and worked as photographer for the Container Corporation of America, Chicago from 1956 until 1959. He returned to Tokyo and operated his photo studio again for a year. 1960 brought a great decision and the Haars moved to Hawai'i and Francis started his photo studio there. He taught photography at the University of Hawai'i between 1965 and 1985. He became the production photographer for the Kennedy Theater, the University of Hawai'i Drama Department. Francis Haar died at the age of 89 in Honolulu.Source: Wikipedia
Angelika Kollin
Angelika Kollin
Estonia
1976
Angelika Kollin (b. 1976) is an Estonian fine art and documentary photographer based in Tampa, Florida. Her work is rooted in a lifelong desire to understand human experience: the search for belonging, the weight of faith, the quiet strength that lives inside ordinary people. She works primarily in portraiture and long-term documentary projects, drawn to relationships with her subjects that unfold slowly and demand patience. Over eight years living in Ghana, Namibia, and South Africa, her practice deepened through daily encounters with people who carried both hardship and grace with equal measure, and her work since has been an attempt to bring that presence through to the viewer. She enters the creative space intuitively, without armor and without a fixed destination, allowing what is true to surface. Her ongoing bodies of work include Song of Psalms, Parenthood, Mary's Children, and Maps of Grief, among others. Her photography has been recognized by the Sony Photography Award (2024), CPOY 78, the Julia Margaret Cameron Award (2024), LensCulture, and FMoPA, and has appeared in CNN, The Guardian, The Washington Post, Scientific American, and F-Stop Magazine. Her work has been exhibited internationally at the Helsinki Foto Festival, Photo London, FotoNostrum in Barcelona, the OFF Foto Festival in Bratislava, and in New York, Seoul, Berlin, Tallinn, and Cape Town. Statement: My main project for the year 2020 became You are my Mother that subsequently expanded into You are my Father. As the covid pandemic rolled over the world, many of us found ourself going back to basics and spending more times with our families. I started photographing my project in April, while we were still in complete lockdown in Cape Town,South Africa. Initially I only wanted to document an act of acceptance and joining I witnessed between a mother and her adult daughter. Afterwards I continued to explore same "story" in other mother/child connections, examining the impact it has on my own family life and on my audience. There is no groundbreaking story occurring in my project, and yet, at least for myself, I am learning to understand the significance and value of connection to our family and how it shapes us for the rest of our life.
Nanci Milton
Nanci Milton
United States
1957
Nanci Milton is a primarily self-taught photographic artist. Her experience with the camera, film and image making began at an early age with the gift f an Instamatic from her father for whom photography was his passion though not his profession. Subsequent Christmas gifts of cameras followed, as well as access to his own various cameras. She was smitten. As the only child of artistic parents, both teachers as well, she was continually exposed to writing, image making, art viewing and inquiring into the creative process. As an only child of older parents, she also was included in many adult events, dinners, lectures, visits with artists of many arenas and backgrounds and absorbed the many layers of inspiration and process they possessed. She found it a gift to be an only child as it allowed her the access to a larger world early on and also left her to her own devices to imagine and make without the comparison or competition with a sibling. Everything was available and potent. The ''legacy'' of artists can be heavy though, and even as she continued to make images and write, she struggled to find a form that was her own. That form led to a detour into the performing arts, modern dance and theater which were her university studies. Ultimately, these fell short of what she had been immured in all her life, and the turn back o the photographic arts and writing was undeniable. The detour however undeniably informs her work with a sense of narrative and staging, in addition to a conceptual approach that pushes the images beyond the static. In a world that is in such flux, Milton is attracted to empty, vacated or in some way, disrupted spaces and how our intimately personal or common and archetypal experience layer on and stain that space, be it exterior or interior; she finds a landscape of both body and mind to reveal. There is redemption in that effort and the rescuing of the lost, and in both the symmetry and the chaos found there. Methodology and materials are less important and she utilizes any and all that will support the idea. Milton has been included in domestic and international exhibits at Praxis gallery, LA Noble Gallery, A Smith Gallery, The 9th Annual Koblenzanalog portfolio and exhibit, and was an Honorable Mention in the Fine Art category for the 17th Julia Margaret Cameron Awards.
Dhiky Aditya
Dhiky Aditya
Indonesia
My name is Dhiky Aditya, I am a professional photographer in the field of fine art & creative photography. from a country full of diverse cultures and natural beauty, namely Indonesia. I live in the land of Java, and have a Javanese culture, an Islamic religion living in the city of SOLO I've been working in the world of photography since 2010 until now.on my photography trip, I looked for what I liked best and diligently in photography, ranging from fashion, landscpe, portrait, travel, digital manipulation or creative art photographers. I have also won several photo or fashion photo competitions in Indonesia, landscape, human, portrait, street & creative photo competitions. I also got a degree at the Indonesia Photo Salon A.FPSI - one Star, Merit Medal General Black and white HIPA 2016, 3nd Winer APEC 2016, 2nd Winer National Award creative categori SONY WORLD PHOTOGRAPHY AWARD 2019
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