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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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More Great Photographers To Discover

Bruce Barnbaum
Bruce Barnbaum
United States
1943
Bruce Barnbaum, of Granite Falls, WA, entered photography as a hobbyist in the 1960s, and after four decades, it is still his hobby. It has also been his life's work for the past 30 years. Bruce's educational background includes Bachelor's and Master's degrees in mathematics from UCLA. After working for several years as a mathematical analyst and computer programmer for missile guidance systems, he abruptly left the field and turned to photography. Bruce has authored several books, some of which have become classics. The Art of Photography was first published in 1994 and remained in print until 2007. Bruce has been self-publishing the book ever since, but with limited distribution. Bruce is a frequent contributor to several photography magazines. His series The Master Printing Class is featured in each issue of Photo Techniques, and his articles are published regularly in LensWork. Through his workshops, articles, lectures, books, and innovative photography, Bruce has become a well-known and highly respected photographer, educator, and pioneer. Bruce is recognized as one of the finest darkroom printers on this planet, both for his exceptional black-and-white work, as well as for his color imagery. He understands light to an extent rarely found, and combines this understanding with a mastery of composition, applying his knowledge to an extraordinarily wide range of subject matter. His work is represented by more than ten galleries throughout the United States and Canada, and is in the collections of museums and private collectors worldwide.Source: O’Reilly Bruce has been an active environmental advocate for more than three decades, both independently and through organizations such as the Sierra Club (where he served on the Board of Directors of the Angeles Chapter from 1976-80, and the California Regional Conservation Committee), Audubon, the Stillaguamish Citizens’ Alliance (which he co-founded in 1991) now renamed the Mountain Loop Conservancy, 1000 Friends of Washington, and the North Cascades Conservation Council (where he has served on the Board of Directors since 1994). As a photographer he has seen the changes in our land and our landscape—almost all of them for the worse—that have taken place in the 35 years he has actively been photographing our planet. He points out that we all live on this one magical globe called “Earth,” and unless we love it, revere it, and protect it, we’ll all perish with it. Currently, we are exploiting planet earth at an unprecedented rate, saddling ourselves with many self-inflicted problems: human overpopulation, global warming, an increasing ozone hole, deforestation, overfishing of the oceans, overuse of fresh water resources, pollution of the air, land, and waters (lakes, rivers, and oceans), and many others too numerous to detail. But humanity is doing little to correct any one of these problems. We have enough knowledge to recognize the steps that should be taken to turn from our destructive ways to more intelligent, productive, and sustainable means, but we may not have the wisdom or political will to implement that knowledge.Source: Fahey/Klein Gallery
Monica Testa
Monica Testa
Italy
1967
Shortly after my art studies, I started working as a fashion designer for a large company, which allowed me to deepen my knowledge and work in the world of graphics and style. It was a challenging and rewarding job, thanks to which I had the opportunity to travel a lot around the world, meeting people from various ethnic backgrounds, enriching myself enormously from a cultural and personal point of view. I had always been passionate about photography and to such an extent that I could no longer do without it. After taking several courses and studying the greatest photographers in history, I decided to enrol at the Italian Institute of Photography in Milan: a constructive experience that made me grow a lot, both on a technical and creative level. I truly enjoy observing people and also studying their psychological side. That's why I especially love working on portraits and telling the stories of those I meet, always keeping a careful and respectful eye, tiptoeing into situations that I find interesting. I delve into them, I make them my own. I use photography to express how I feel, how I see, how I perceive and absorb the flow of life around me. I transform my thoughts and my feelings into images, thus aiming to become a same part of the image I portray. The River Text from "Monica’s Diary (Benin 2019):" Today we reached a small village flooded by the abundant rains of recent days. The tribe that lives there is accustomed to this situation and in effect they live in real palafittes suspended on the water; and so we reached the village in the only way possible ... by canoe. We brought t-shirts for the children, eggs for snacks and, more importantly, mosquito nets which, given the area they live in, particularly humid and infested with mosquitoes, are essential. The landscape was spectacular and my eyes saw incredible realities... all so far from our daily life! The school was small and very crowded, obviously they had been warned of our arrival and especially the children were waiting for us with trepidation. Compared to other villages we had visited the previous days, the people who live here are quite aggressive. They were a little agitated, they all talked loudly, they pushed us constantly. The adults looked at us with curiosity and the children with shyness: it was noticeable that they were not used to seeing people of a different color in their village. For this we were escorted by the local police, in case the situation deteriorated. But everything went well and another day passed ... lived as if it were a whole life. Face to Face Form zero to one hundred This is an ambitious project, started in 2017 and not yet finished. The idea would be to photograph portraits of people of different ages, sex and ethnicity, who in some way fascinated me and consequently I asked them to pose for me. I would like to get to a hundred photos, a different one for each age from zero to one hundred years.
Thomas Wilder
Thomas Wilder
United States
1996
Through his practice in digital photography and site specific installation, Thomas asks questions of perception, meaning-making, attention, the photographic image, and the particularity of space. Influenced most strongly by conceptual artists of the 70s and 80s, Thomas looks to make work that accompanies a broader philosophical conversation. Thomas recently graduated with a BA in Studio Art from Wheaton College, IL; he is now pursuing an MFA in photography at Rhode Island School of Design in Providence, RI.
Klaus Lenzen
Klaus Lenzen
Germany
1953
I am a non-professional photographer (born in 1953) living in Ratingen, a neighboring city of Duesseldorf, which is located in the western part of Germany. Photography is my passion since 2011. With my mostly minimalist photographs, I try to focus especially on shapes, colors and structures in our everyday surroundings. Several of my pictures were awarded at national and international Photo awards. For example: Category Winner at the Sony World Photography Awards 2018 and the Siena International Photo Awards 2018, IPA 2018 Fine art Photographer of the Year, Editor's Pick at the Lensculture Black&White Photography Award 2018, Gold Winner at Tokyo International Photo Awards 2018, shortlisted at the Sony World Photography Awards 2019 and choosing for the LensCulture Winter Print Show 2017. In 2018 my works were shown at exhibitions in London Somerset House, CLB Gallery Berlin, Willy-Brandt-Haus Berlin, Lo Stellino Siena, Espace des Arts Sans Frontierès Paris and the Klompching Gallery New York
Reinout van den Bergh
Reinout van den Bergh
The Netherlands
1957
Reinout van den Bergh (Wageningen, the Netherlands, 1957) studied photography and audiovisual design at St. Joost School of Fine Art and Design in Breda, the Netherlands. Since 1982 he has been working from Breda as a photographer and audiovisual designer. In this capacity he has travelled throughout Europe, Africa, Asia, the Middle East, the USA and Latin America. He worked for various ethnographical museums and for Dutch development cooperation projects. His work has been exhibited in several museums in Eastern and Western Europe and Africa, and published in several books and other publications. The Miners from Beringen (2014) comprises a collection of photgraphs made in the Belgian mining community of Beringen during the 1980s. It was proclaimed as one of the best photobooks of the year by Dutch quality newspaper de Volkskrant. For the long-term project 'Factories' with fellow artist Huib Fens he visited industrial heritage everywhere in Europe. The 'Environment' project is a combination of visual art and photography, for which he cooperated with sculptor Gerhard Lentink, travelling in several European countries. As of 2006 Reinout van den Bergh has been curator of BredaPhoto. He also supervises students and graduates of its International Talent Program. More about Eboundja
James Peaslee
James Peaslee
United States
1952
James M. Peaslee (Jim) is an art photographer living in New York City. He grew up in New York City and its suburbs, Los Angeles, and France. He has been taking pictures for 50 years. His formal photography education started at age 17 in 1970, in a course taken in the Yale Art Department from the venerable Walker Evans. Peaslee has a substantial portfolio of black and white pictures (taken with a medium format camera) from that time. The need to earn a living then put a temporary damper on artistic endeavors. He went to law school, and was a tax lawyer for many years with the international law firm Cleary Gottlieb. Good tax lawyers are known for their creativity, but admittedly the artistry is light on color, tones, and shapes. In 2018, Peaslee retired from the law and attended the Rocky Mountain School of Photography Summer Intensive Program. Much of his time since the beginning of 2018 has been devoted to photography, and his portfolio is growing. Statement Peaslee admits to having a dark side. Many of the pictures he takes are stark or consciously simplified. A picture that is stark or simple offers the viewer a chance to ask what is missing, or what happens next. Many images show individuals who seem isolated. Pictures of buildings usually show no people, or only figures in silhouette or shadow. One artist Peaslee cites as an influence is Edward Hopper. Walker Evans, his first photography teacher, also helped set the tone.
J.M. Golding
J.M. Golding
United States
J. M. Golding is a photographic artist based in the San Francisco Bay area. She chooses plastic, pinhole, and vintage film cameras as her primary tools: plastic cameras such as the Holga for the spontaneity they promote and their capacity to help create dreamlike images, pinhole cameras for their simplicity and their contemplative quality, and vintage film cameras for the subjectivity of the images that are possible. J. M.'s photographs have been shown internationally in numerous juried and invitational group exhibitions, and she is the recipient of the 2013 Holga Inspire Award, the Lúz Gallery Curator's Choice Award (2009), Best of Show in Wanderlust (Dickerman Prints, 2017, in collaboration with Al Brydon), and several Honorable Mentions in other juried exhibitions. Her work has also appeared in Black & White, Diffusion, Shots, F-Stop, Square, and Insight magazines, Inside the Outside, Don't Take Pictures, The Holga Darkroom, and The Shot and in two books of pinhole photographs. She has been profiled in LensCulture, F-Stop Magazine, Wobneb Magazine, Mother F-Stop, Toycamera.es, and Pinholista. About Transitional Landscapes These photographs contain transitions from outer landscape to inner, from objective landscape to subjective. Square frames of film that are typically separate join together to form new, integrated images that would not have been possible otherwise, wholes that are greater than the sum of their parts, landscapes that are simultaneously real and imaginary. In this way, and also by transcending the literal separation of the component scenes, they allude to psychoanalyst D. W. Winnicott's concept of the transitional object. The photographs embody the eye's transitions across the scene, moving incrementally from one perspective to another as they take on and combine multiple points of view. Because the overlapping exposures used to create the images are made sequentially, as compared to the single moment typically seen in photographs, the series of exposures in each image portrays transitions in time from one moment to the next, creating a connection between past and present, and possibly, present and future. Although the time and distance traversed are in many ways small, the transitions across them create surprising changes in what is visible.
Myriam Boulos
Myriam Boulos
Lebanon
1992
I was born in 1992 in Lebanon, right after the end of the war, in a fragmented country that had to reinvent itself. At the age of 16 I started to get closer to Beirut and used my camera to question the city, its people, and my place among them. I graduated with a master degree in photography from the Academie Libanaise des Beaux Arts in 2015. Today I use photography to explore, defy and resist society. It is my way of constantly reinventing myself in the body and the city I live in. Statement The revolution started in Lebanon on the 17th of October 2019. Since then everything has been emotionally and physically draining and confusing but also beautiful, sad and awakening. It all feels as if we were coming out of an abusive relationship and to finally say: No, this is not normal. When the revolution started in Lebanon, it was the most natural thing for me to take my camera and go to the streets. Photography has always been my way of participating to life as it is today my way of taking part in the revolution. In the ongoing socio-political context it felt to me like there was no choice: the subject of my photography imposed itself on me. It was more a question of need and necessity than a question of desire. The slow documentary that normally constitutes my approach was ever so naturally replaced by something else something new, and within the revolution I let myself carry by the big wave coming towards me, big wave much bigger than me. My project is about documenting the different facettes of the Lebanese revolution from a local point of view. My approach is characterized by the direct flash I use in this project but also in others. This potentially comes from my need to make things real. The direct flash also helps me work on textures, bodies and skins. In the context of the revolution, the proximity between the bodies says a lot about the situation. It is the first time that we claim our public spaces, our streets, our country. It is the first time that different social classes mix together in the streets. In our streets. In parallel to the photographic documentation, I am also documenting the evolution of my emotions during the revolution. It is sort of a diary that accompanies the pictures. Example: Monday, 20 Jan Beirut, Lebanon Tonight in the teargas I took all my pictures with eyes closed. They say the moment of a picture is a black out. I wonder if I don't look at these emotions, will they disappear?
Ernest Cole
Ernest Cole
South Africa
1940 | † 1990
Ernest Cole was born in South Africa’s Transvaal in 1940 and died in New York City in 1990. During his life he was known for only one book: House of Bondage – published in 1967. In 2011, the Hasselblad Foundation produced a follow-up: Ernest Cole: Photographer. Cole’s early work chronicled the horrors of apartheid and in 1966 he fled the Republic of South Africa becoming a ‘banned person’. He was briefly associated with Magnum Photographers and received funding from the Ford Foundation and Time-Life. In North America, he concentrated on street photography in primarily urban settings. Between 1969 and 1971, Cole spent an extensive amount of time on regular visits to Sweden where he became involved with the Tiofoto collective and exhibited his work. From 1972, Cole’s life fell into disarray and he ceased to work as a photographer, losing control of his archive and negatives in the process. Having experienced periods of homelessness, Cole died aged forty-nine of pancreatic cancer in 1990. In 2017, more than 60,000 of Cole’s negatives missing for more than forty years were discovered in a Stockholm bank vault. This work is now being examined and catalogued.Source: Magnum Photos Ernest Cole (1940–1990)—one of South Africa’s first black photo-journalists—created powerful photographs that revealed to the world what it meant to be black under apartheid. With imaginative daring, courage, and compassion, Cole portrayed the everyday lives of blacks as they negotiated apartheid’s racist laws and oppression. Apartheid, which means “apartness” in Afrikaans (the language of South Africa’s white minority of Dutch descent), was an often brutally enforced legal policy that separated people by race in all aspects of life, within a white supremacist hierarchy of power. Born in Eersterust, a black freehold township in Pretoria, Cole was forcibly relocated with his family to nearby Mamelodi in the late 1950s. While still a teenager, he began working as a darkroom assistant at Drum, a black lifestyle magazine in Johannesburg. There he mingled with young black South African photographers, journalists, jazz musicians, and leaders of the burgeoning anti-apartheid movement. Inspired by Henri Cartier-Bresson’s photo-essays, Cole embarked on a life mission to produce a book that would awaken the rest of the world to apartheid’s corrosive effects. House of Bondage was published in New York in 1967. Although it was immediately banned in South Africa, contraband copies spurred on the country’s emerging activist photographers. Cole’s images are hard-hitting and incendiary, yet often subtle and even elegant. He frequently worked clandestinely with a hidden camera to capture scenes he was forbidden to photograph, employing striking perspectives and framing. Many of the prints on view here are displayed for the first time uncropped, as he originally intended, and often accompanied by House of Bondage’s incisive captions. In 1966 Cole was arrested by the South African police. Fleeing to Europe, he took with him little more than the layouts for his book. He spent the remaining 23 years of his life in painful exile between Sweden and the United States; after 1975 he was often destitute, living on New York City streets and in the subway. In 1990 he died of cancer at the age of 49—one week after Nelson Mandela’s release from prison. Nearly all his possessions were lost; fortunately, he had given some prints to Tio Fotografer, a Swedish photographers’ association, which later donated them to the Hasselblad Foundation. Bringing this remarkable artist’s works to the international stage, Ernest Cole Photographer commemorates his pioneering efforts to capture the complex truths of day-to-day, lived experiences during harrowing times. Critiquing institutionalized segregation and celebrating human resilience, Cole challenged the status quo, and his work continues to speak eloquently and forcefully to contemporary issues of poverty and racial inequality in the United States and worldwide.Source: Grey Art Gallery, NYU
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