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Brice Gelot
Brice Gelot
Brice Gelot

Brice Gelot

Country: France
Birth: 1985

Brice Gelot known as ''NSD51/50'' is a french born street/documentary photographer. He was born and live in Dijon, France. He started as a self-taught artist and took his first photograph in 2004. Afterwards he travelled the world and worked for few magazines and brands. Today represented by art gallery worldwide. His photographs reflects the street, graffiti, tattoos culture, gangs and the dark side of our society with poverty. Brice photographs the world as it is, the truth and reality of the city sometimes with a poetic feeling.

Websites

www.nsd5150.com

@nsd.5150

 

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More Great Photographers To Discover

Alessandra Sanguinetti
Alessandra Sanguinetti
United States
1968
Alessandra Sanguinetti is an American photographer. A number of her works have been published and she is a member of Magnum Photos. She has received multiple awards and grants, including the esteemed Guggenheim Fellowship. Her first solo show in the United States was in 2005 at Yossi Milo. Born in New York City, Sanguinetti moved to Argentina at the age of two and lived there until 2003. Currently, she lives in San Francisco, California. Her main bodies of work are The Adventures of Guille and Belinda and the Enigmatic Meaning of their dreams twenty + years long documentary photography project about two cousins—Guillermina and Belinda—as they grow up in the countryside of Buenos Aires; On the Sixth Day which explores the cycle of life and death as through farm animals lives; Sorry Welcome, a meditative journal on her family life; Le Gendarme sur la Colline, documenting a road trip through France in 2018. She has been a member of Magnum Photos since 2007 and is a Magnum Workshop teacher.Source: Wikipedia An ICP graduate, she began a series of works in 1999 about the relationship between two nine-year-old cousins, Belinda and Guille, who live on a farm outside of Buenos Aries. Sanguinetti photographed them for ten years, charting their evolution from girls to young women. The girls collaborated with Sanguinetti on the series, The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams, to construct images that evoke the fantasies and fears that accompany the physical and psychological transition from childhood to adulthood. The photographs use costumes and props, as well as references to art and literature, to explore the diffuse boundary between fantasy and reality. As the girls age, the photographs become more meditative as they start exploring their adult lives. Sanguinetti is a member of Magnum Photos, and her photographs are held in museums including the Museum of Modern Art; the Museum of Fine Arts Boston; the Museum of Fine Arts Houston; and the San Francisco Museum of Modern Art.Source: International Center of Photography "I was born in NYC in 1968. Two years after that, my family and I moved to Buenos Aires, where I grew up, worked and lived until 2002. I'm based in California now. I've been a photographer since I'm ten years old and made half of my work in a small area 200 km south of Buenos Aires. I've also made and are making work in many other parts of the world. To do so, I've had the support of the Guggenheim Foundation, The Hasselblad Foundation, the National Fund for the Arts of Argentina, the Harvard Peabody Museum/Robert Gardner Foundation, the Aperture/Hermes Foundation, the MacDowell Colony, and the John Gutman, Alicia Paterson and the Magnum Foundation."
Yasser Alaa Mobarak
Yasser Alaa Mobarak
Egypt
1993
Yasser Alaa Mobarak is a 24-year-old, Egyptian award-winning photographer based in Delhi, India. He has won photography prizes from National Geographic Traveler India, National Geographic Egypt, International Federation of Photographic Art, Photographic Society of America and Prix De La Photographie Paris. Yasser's works have been featured in Digital Camera World Magazine, Amateur Photographer Magazine, Smart Photography Magazine, Silvershotz Magazine, Adobe Blog, PBS NewsHour and Xinhua News Agency. He is holder of AFIAP distinction from the International Federation of Photographic Art and holder of Associateship from Image Colleague Society International. He was judge at Adobe Youth Voices Awards, Romania's National Creativity Contest and The Photographic Angle.
Jürgen Schadeberg
Jürgen Schadeberg
South Africa
1931 | † 2020
Jürgen Schadeberg was a German-born South African photographer and artist. He photographed key moments in South African history, including iconic photographs such as Nelson Mandela at Robben Island prison. He also lived, worked and taught in London and Spain, and photographed in many African countries. Jürgen Schadeberg was born in Berlin, Germany, in 1931 where he grew up during the Nazi regime and World War II. In the aftermath of the war, his mother began a relationship with a British officer in the army of occupation and emigrated with him to South Africa in 1947. Schadeberg learned to be a photographer at the Deutsche Presseagentur (German Press Agency). He moved to South Africa to rejoin his family in 1950 and, the following year, found employment on Drum magazine as an official photographer and layout artist. Schadeberg became the senior figure of the group and a teacher and mentor to some of the most creative South African photographers of his time, including Bob Gosani, Ernest Cole, and later Peter Magubane. As one of the few white photographers who photographed daily life among the black community, he became knowledgeable about black life and culture. As a result, he captured on film the beginnings of the freedom movement, the effects of apartheid, and the vibrancy of township life. Schadeberg photographed many historic and pivotal events in the 1950s among them the Defiance Campaign of 1952, the 1956 Treason Trial, the Sophiatown removals of 1955, the Sophiatown jazz and social scene, the Sharpeville funeral of 1960, and pictures of Robben Island inmates. Some of the famous people he photographed include Nelson Mandela, Walter Sisulu, Oliver Tambo, Trevor Huddleston, and Govan Mbeki. He also documented 1950s jazz legends such as Thandi Klaasen, Hugh Masekela, Kippie Moeketsi and Miriam Makeba. He made documentation of everyday life. When Drum wanted the singer Dolly Rathebe to be the cover girl for one of their issues, Schadeberg took her to a Johannesburg mine dump and photographed her in a bikini. The two were arrested for contravening the Immorality Act which forbade interracial relationships. In 1959, Schadeberg left Drum to become a freelancer. He was part of an expedition led by Professor Phillip V. Tobias from the University of the Witwatersrand to study the Bushmen, publishing images in The Kalahari Bushmen Dance in 1982. Schadeberg felt forced by increasing civil unrest to leave South Africa, and in 1964 went to London, where he was picture editor of Camera Owner magazine (forerunner of Creative Camera), into which he incorporated a stronger sense of design and increased its pictorial content, and from April to July 1965 he was its editor. He also taught and curated photographic exhibitions in England, notably for the Whitechapel Art Gallery. He then moved to Spain where he focused on a career as an artist. In 1972, he returned to Africa where he accepted a position as a photographer for Christian Aid in Botswana and Tanzania. In 1973 he traveled to Senegal, Mali, Kenya, and Zaire, taking photographs. In 1985, Schadeberg returned to South Africa, where he lived with his wife Claudia. He continued to work as a photojournalist, and also made documentaries about the black community until 2007 when he returned to Europe. Schadeberg died from a stroke at his home in La Drova [ca], Valencia, Spain, on 29 August 2020, aged 89. His work is held in the collections of the UK Arts Council, National Portrait Gallery, Tate and the Victoria and Albert Museum in London.Source: Wikipedia Jurgen has edited and published over 30 photographic books including The Finest Photos from the Old Drum, The Fifties People of South Africa, Mandela & The Rise of the ANC, Voices from Robben Island, Sof’town Blues, The Black & White Fifties, The San of the Kalahari & Soweto Today 2002, Witness - 52 years of pointing lenses at Life 2004, Voices from the Land 2006. Jazz, Swing & Blues – 56 years of SA Jazz and Tales from Jozi 2007– Six decades of documentary photography in Europe, Africa and America published by Hatje Cantz 2008, Great Britain 1964/84 , 2011 Jurgen Schadeberg visits Germany – 6 decades 2012, and Six decades of South African Photography 2014. Together with his producer wife Claudia, Jurgen established The Schadeberg Movie Company to produce a series of some 15 documentaries and dramas about South African social, cultural and political history. Jurgen Schadeberg, sometimes known as “The Father of South African Photography”, is a principle figure in South African and World Photography. His major body of work, which spans 70 years and incorporates a collection of some 200,000 negatives, captures a wealth of timeless and iconic images.Source: www.jurgenschadeberg.com
Kelly-Ann Bobb
Kelly-Ann Bobb
Trinidadian
1985
Kelly-Ann Bobb is an analog freelance photographer based in the twin island state of Trinidad and Tobago. She has always had a natural inclination toward creativity. After completing medical school, she fell in love with the unending complexities of film photography. She utilizes photography as a tool for unmasking, telling stories that would not otherwise be told. Revealing as much of herself as the subjects she photographs. Photography has evolved into one of her greatest forms of creative expression and activism and has fostered a profound interest in her Afro-diasporic identity, community, and the world. Her work seeks to reclaim divine bodily autonomy and agency for African diasporic peoples through the sacred perspective lens of Black bodies. Spirituality, sex, and race are the foci of my photographic portraits
Giuliano Ottaviani
Giuliano Ottaviani
Italy
Born and raised in Rome, Giuliano is a Lifestyle photographer living and working in Paris, mostly active in the hospitality Industry. When he’s not shooting something for himself or his clients, you will probably find him strolling inside a forest, enjoying adventurous plots in a Movie Theatre with his wife, getting his hands dirty (in the kitchen) or taking care of his beloved Bonsais. At the moment, he is working on two main subjects: a photographic mapping of primary rainforests, which he started in 2017 during a discovery trip to the island of Haida Gwaii in British Columbia, and a photographic series illustrating several arts and crafts.
Dennis Stock
Dennis Stock
United States
1928 | † 2010
Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.(Source: en.wikipedia.org) Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.(Source: Magnum Photos)
Karl Struss
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
Philippe Marchand
Philippe Marchand
France
1961
Philippe Marchand was born in 1961, self-taught photographer. He lives in Nantes in the West of France. He collaborates with numerous advertising and illustration agencies where his photographies contribute to the promotion of renowned brands. He is also developing a personal work on the link between man and the sea. We find in the pictures he brings back from his hikes all the Power and the magic of the places he goes through. Its aesthetic approach, the technical constraints it imposes on itself contribute to the creation of a singular photographic universe and resolutely personal. This award-winning work is regularly published in the international press. About The Man and the Sea "The sea is present in everyone's imagination, it means dream and adventure, but also mystery and fear. What I am trying to develop through the link that unites man with the sea concerns the emotions that the ocean can arouse in each of us, through evocative images. Not the translation of reality. In the manner of the pictorialists whose movement originated at the end of the 19th century and for whom the image must go beyond the reality photographed. I try to capture the atmosphere of the place, the poetry and the mystery that surrounds it. The shooting is the first part of a process that also includes a long work in "darkroom" to try to recreate the 'Feeling' of the moment". Philippe Marchand, photographer of seafarers. Black, white, shadow, light, what can be seen and what can be guessed, the ocean and those who are close to it. Philippe Marchand opens the world of the sea to us in its most intimate and human aspects. His approach is sensitive, full of nuances and modesty. Philippe Marchand's photos are like fragments of history. He highlights the relationship between the sea and people: how they look at it, how they approach it and the intimacy they share with it through their activities and passions. Man's imprint on the seascape and the ocean's imprint on the lives of men, even in their attitudes and faces. The secret communion between people and the sea. The artist has opted for the panoramic format and black and white. Facing the ocean, the format imposed itself. The immensity of the sea is exalted, the fragility of men is highlighted. With black and white, more timeless than colour, Philippe shows us the permanence of the places and gestures of the unchanging world of the sea. We have the feeling that time stands still. There is no rush, no run. Life has always had the rhythm of the ocean. Through a subtle play of contrasts, greys and light, a real "paw stroke" of the photographer, the images are linked together, inseparable, part of a whole, of a universe where Philippe invites us to share his emotions. The grain, very present, attenuates, coats the real and reinforces the poetic side of the images. The characters are most often from the back or almost from the back, partly hidden by the play of shadows. The gaze is discreet, never really, never completely encompassing them. There is like a mystery in the air, which Philippe lets us "glimpse"...
Stefano De Luigi
Stefano De Luigi
Italy
1964
I was born in Koln and spent all my life so far, between Rome, Milan and Paris. Even if we are living in a time where is not really trendy, I feel myself deeply Europeen. I choose photography to became my language, because I felt it is universal, the only filter you have to use is your own mind-eyes. Below the essential of my biography I am a photographer since 1989. I attended 2 years of courses at ISF (Instituto Superiore di Fotografia) in Rome between 1987/89 and moved, for the first time, to Paris from 1989 to 1996, working, among others for the Louvre Museum. Back and forth from France to Italy In 2000 I received the Honorable Mention of Leica Oskar Barnack Award. That same year I started the project Pornoland, a photographic journey on pornographic movie sets around the world. In 2004 Pornoland became a book enclosing 16 pages of text by English writer Martin Amis. Pornoland has been published by : Thames & Hudson, Knessebeck, La Martinière and Contrasto. This work has been exhibited at REA gallery (Paris 2004), Santa Cecilia gallery (Rome 2005), Lanificio (Naples 2006), Festival Transphotographiques (Lille 2007), New York Photo Festival (NY 2011). Personal exhibitions in these years, among others, include WHO Headquarter (Geneva 2010), VII Gallery (New York 2010), 10b Gallery (Rome 2010), Museum of Modern Art (Rovereto 2011), Photofestival (Athens 2011/15), Fondazione Stelline (Milan, 2013) FotoIstanbul (2015) , Candiani Cultural Center ( Venice 2017) Plenum Gallery ( Catania 2018) Museum of Palazzo Ducale ( Genes 2019) Image Gibellina 2021, Photolux (Lucca 2022) Planches Contact (Deauville 2022). From 2003 to 2010, I worked on Blindness-, my main work, which lasted 8 years. A photographic project on the life condition of blind and low vision people, around the world. Blindness received the patronage of Vision 2020- World Health Organisation and won the W.E. Smith Fellowship Grant in 2007. In 2006 I embarked on the project Cinema Mundi, a World Cinema exploration of the alternative cinematographic scene external to the Hollywood dream factory including China, Russia, Iran, Argentina, Nigeria, South Korea and India. Cinema Mundi has been also transformed into a 7 minutes short movie screened at Locarno International Film Festival on August 4th, 2007. I have been awarded in the World Press Photo contest four times in different categories (1998-2007-2010-2011). In 2009 the Moving Walls of Open Society Foundation exhibited my work in Washington and New York. In 2010 I was the recipient of the Days Japan International Photojournalism Award and the Getty Grant for Editorial Photography, Syngenta Prize 2015, CNC grant for the documentary"Mare Amarum" 2019, Planches Contacts grant 2021 and I was the recipient of Strategie Fotografia grant from the Italian Ministry of Culture in 2022. I published 6 books Pornoland (Contrasto 2004), Blanco, (Trolley book 2010) iDyssey, (Edition Bessard 2017) Babel with Michela Battaglia (Postcart 2018) Pornoland Redux (Self-published 2021) Il Bel Paese (L'Artiere 2023). T.I.A Africa is a continent. But Africa is also a well-defined place in my mind. Africa is unique. Every time I have had the opportunity of going there I have come face to face with incredible tragedies but also with the unwavering hope of its people. Ever since my first journey to South Africa in 1989, where I saw Walter Sisulu walk free in Soweto after years of imprisonment, I continue to be both deeply moved and deeply shocked by all the stories I have witnessed and heard. Every time I step onto African soil I know I will experience something deep, something that inevitably leads to a search for the meaning of life, something that, for me at least, surfaces from deep within when I am in Africa. The questions raised call for humbleness, since often they are without answers. We know that the truth often lies in the middle folds of things. This project aims to raise questions and provoke thoughts which could, perhaps, lead to some answers and which in turn could correspond to some truths. I have tried to conceive this project as a poem. Or perhaps it would better be described as a ballad. The ballad with verses which challenge and play with each other. In the space between two facing photographs there is a story. One of the thousand stories I witnessed in Africa, one of the thousand questions I asked myself, one of the thousand experiences I was fortunate to live. The photographs represent the two extremes of the story that links them: the beginning and the end. I couldn't find a better form of expressive language to convey how Africa is an all-encompassing experience for any human being wishing to embrace it to its full. A painful yet joyful ballad of my personal and ongoing relationship with this continent. This is why I have called it "This is Africa". I should probably have called it "This is my vision of Africa" but it didn't sound the same. By no means does this mean it is the only view of Africa. I know it may seem inadequate and subjective. But so is everything in life, I guess. So, This is Africa. Blanco How does the look of a blind person look like? Can the blind show joy, happiness, disappoint, pain, suffering, pity, regret, with the only use of their eyes? The absence of sight can mean also the absence of complicity behind the camera's lens? We always use the term blind to characterize a person, such as blond, fat, poor, rich. And maybe, in some way, it is the truth. It doesn't matter if it happens in Africa, Asia, or the old Europe. The fact is, they cannot see the light, the colors, the daily scenes, how awful or gorgeous they can be. The blind are a contrast. It is easier to ignore them, their handicap is hidden, but they do have it. It's not necessary to turn the face to something or someone else, they won't see it. They seem 'normal', but they're not. They have their own world, the same and another than ours, made of different feelings, different images, different colors. And dark.
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Eric Kunsman is a renowned photographer and educator whose work explores the intersection of history, culture, and social commentary. Known for his thought-provoking series and meticulous attention to detail, Kunsman captures powerful narratives that challenge conventional perspectives. In this interview, we delve into his creative process, inspirations, and the stories behind his most compelling projects
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Exclusive Interview with Laurie Victor Kay
Interview
Exclusive Interview with Laurie Victor Kay
Laurie Victor Kay is a versatile, multi-disciplinary artist whose practice seamlessly merges photography, painting, installation, and digital media. Her work explores themes of constructed imagination, idealization, and the surreal, creating thought-provoking visual narratives that challenge traditional boundaries between mediums. We asked her a few questions about her background and work.
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Exclusive Interview with Nanda Hagenaars
Interview
Exclusive Interview with Nanda Hagenaars
Nanda Hagenaars approaches photography with a poetic and emotionally rich sensibility, creating images that reflect her intuitive connection to the world. Fascinated by the relationship between time and timelessness, she often works in black and white, a medium that aligns with her creative vision. We discovered her beautiful work through her submission to AAP Magazine Portrait, and we were captivated by her series Perspective. We asked her a few questions about her life and work.
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