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Tebani Slade
Tebani Slade
Tebani Slade

Tebani Slade

Country: Australia
Birth: 1966

Tebani Slade is a fine art, street and documentary photographer based between Australia and Barcelona. Her approach to photography involves storytelling and seeking the truth in her observations.

She prefers to venture to unfamiliar destinations with an open mind, devoid of preconceived notions or generic perspectives. Armed only with her camera, Tebani allows events to unfold naturally, following the path that each location leads her on.

A former graduate of the Queensland College of Art, Australia she also holds a Master of Distinction with the NZIPP (New Zealand Institute of Professional Photography). She has received recognition and awards for her photography, which has been exhibited both nationally and internationally. Her work has been showcased in group exhibitions such as Women Street Photographers in Kuala Lumpur and the Indian Photo Festival, as well as the Women Street Photographers annual exhibition in New York and the MIA Photo Fair in Milan.

She was a finalist in the Australian Head On Photo Awards 2021 and 2022 and took first place in the 2022 Australian Mono Awards. In 2023 she was a finalist in the Mullins Conceptual Photography Prize and was awarded Australian Documentary Photography of the Year with the NZIPP.

Her work has been featured in numerous publications including Australian Photography Magazine, Aust Capture Magazine, Aust Commercial Photography, Black & White Photography (UK edition), B&W (US edition), Nikon UK, The Guardian Australia, Loud & Luminous Book 2020 (a Celebration of Australian Women Photographers).

Exhibition

Bangla Road, Life After Dark

Websites

www.tebani.com.au

@tebaniphotography

 

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Thaddäus Biberauer
Thaddäus Biberauer
Austria
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Thaddäus Biberauer, known as hozzography, is a photographer from a small town in the Austrian countryside. Since 2019, he has pursued a passion for capturing the extraordinary in the ordinary, creating images that evoke emotion and mood. His work spans serene forests, rushing rivers, flower-filled meadows, expansive coastlines, and vibrant cityscapes, blending reality with surrealism to craft a dreamlike atmosphere. Guided by a desire to create feeling rather than document reality, Thaddäus’s photography transforms fleeting moments into visual poetry, inviting viewers to reflect and connect with the beauty of the world. Statement Photography is just wonderful! It gives me the freedom to do whatever I want without anyone interfering
Isabel Muñoz
Isabel Muñoz
Spain
1951
Born in Barcelona in 1951, she moved to Madrid in 1970 where nine years later, she registered at PhotoCentro to completely dedicate herself to professional photography. She worked for the press and advertising sector in 1981, and made various still photos during film shoots. After a spell in New York to further her training, she returned to Madrid in 1986 where she produced Toques, her first exhibition. She travelled the world between 1990 and 2007, discovering and immersing herself in different artistic and cultural expressions, before producing her following series and exhibitions: Shaolín, Camboya Herida, Capoeira, Contorsionistas, Tanger, Tango and Toros. She usually works in black and white. She received the Gold Medal for Merit in Fine Arts in 2009 for her work. Source: Spain Culture When she was 20 years old, she moved to Madrid and started studying photography in 1979 in Photocentro. In 1986, she made her first exhibition, Toques and she has already made more exhibitions in several countries of the world for more than 20 years. Her black-and-white photos are a study of people through pieces of the human body or pictures of toreros, dancers or warriors, by using a handmade and meticulous process of developing. Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York City, the Contemporary Arts Museum in Houston or private collections. Source: Wikipedia Isabel Muñoz stands out as an assertive photographer. Platinum developments and extra-large formats are favourite techniques used in order to strengthen her message of passion for the body as a means of approaching the study of human beings. Tango and Flamenco (1989) are considered the starting point of her unremitting search of the sentiments and emotions of world groups and cultures in an attempt to capture the expressions of beauty of the human body. When Muñoz focuses her camera on dancers, wrestlers, warrior monks, bullfighters or deprived children she does it with a strong sense of commitment. Her first individual exhibition, Toques, in 1986 at the French Institute in Madrid and her participation in the Mois de la Photographie in Paris in 1990, set her international projection as a high profile photographer without boundaries. These will be the first of many exhibitions throughout the main cities of Europe, the Americas and Asia. Her photographs are shown at the Museo Nacional Centro de Arte Reina Sofía (Madrid), Foto Colectania (Barcelona), Fundación Canal (Madrid), Maison Européenne de la Photographie (París), New Museum of Contemporary Art (New York) and Instituto Cervantes (Mexico, Guatemala, Bolivia, Shanghai, Tokio). Isabel Muñoz work has been widely recognized with numerous honours and distinctions. Recent awards include Fundación DEARTE (2012), the UNICEF Spain Awareness Rasing Award in 2010, Bartolomé Ros Prize (PHotoEspaña 2009), the Spanish Ministry of Culture Gold Medal to Fine Arts in Spain (2009), the first prize in photography by Comunidad de Madrid (2006), the two World Press Photo prizes (2000 and 2004), the Biennial of Alexandria Gold Medal (1999), Isabel Muñoz was born in Barcelona in 1951 and lives in Madrid since 1970. Source: LensCulture
Stephen Wicks
Stephen Wicks
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Stephen Wicks' attraction to photography began during his childhood. He says he was inspired by the photo essays in LIFE Magazine. Each week when a new issue arrived it seemed like the world beyond his home was in his hands and he had feelings for and wanted to meet the people who appeared in the pictures and visit the places he saw on the pages in the magazine. Wicks has always had a deep interest in all forms of communication. He says his attraction to the visual world and belief in the power of images triggered his imagination, cultivated his intuition, awakened within him a natural curiosity and an instinct to questioning everything. These qualities have been the inspiration for Wicks to follow parallel careers as an imagemaker and visual educator. As an artist Stephen Wicks has been using photography, videography, monologues and soundscapes to tell stories about the things he see's, questions and values. His motivation has been to create picture stories, in print and now also on the screen, to share with others what he has experienced, discovered and captured. During his early career Wicks created traditional B&W photo essays with up close and personal photographs made, often while living with his subjects over a long period of time, and returning many years later to see and capture changes in their lives. More recently, Wicks has been making digital color photographs of landscapes, places and objects found in spaces shared by the natural landscape and built environment. Although these photographs are void of people, he believes a human trace is visible in each picture and, with this in mind, he see's his Nature/Culture images as social landscapes. It is precisely the absence of people along with a sense of their presence, as seen in the marks and artifacts left in the environment, he now finds most fascinating. Stephen Wicks is currently developing two presentation/performance/storytelling projects: PICTURE STORIES: a series of live presentations based on thematic video vignettes, photographs and monologues about American people, places, experiences and events; including a dialogue with the audience (in development / launch: September 2019) BEING THERE: his YouTube Channel - a video magazine about American Culture - including picture stories, video journals and commentary on education, art, communication, politics, economy, media (in development / launch: October 2019)
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Oliviero Toscani
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Oliviero Toscani was an Italian photographer whose groundbreaking and often controversial advertising campaigns revolutionized the intersection of art, commerce, and social commentary. Best known for his work with Italian fashion brand Benetton from 1982 to 2000, Toscani transformed advertising into a platform for provocative and thought-provoking messages on issues such as AIDS, racism, religion, and capital punishment. Born in Milan, Toscani inherited a passion for photography from his father, Fedele Toscani, a renowned photojournalist and co-founder of the Publifoto agency. After earning his diploma at the Kunstgewerbeschule Zürich, Toscani began his career collaborating with leading magazines such as Elle, Vogue, L’Uomo Vogue, and Harper’s Bazaar. His early work set the stage for a career that would challenge conventions and ignite conversations worldwide. In 1982, Toscani became Art Director for the Benetton Group, where he created some of the most iconic and controversial advertising campaigns in history. Among these was the unforgettable image of David Kirby, a man dying of AIDS, which echoed the composition of religious pietà paintings. While some criticized the ad for exploiting tragedy to sell clothing, the Kirby family praised it for raising global awareness about AIDS. Other campaigns addressed themes of racial equality, war, and even the death penalty, pushing boundaries and reshaping public perceptions of advertising's role in society. In the early 1990s, Toscani co-founded Colors, a magazine created with American graphic designer Tibor Kalman. With the tagline “a magazine about the rest of the world,” Colors reflected the multicultural ethos of Benetton's campaigns while maintaining editorial independence. Toscani’s tenure at Benetton ended in 2000, but his impact on the brand—and the advertising world—remains indelible. A resident of Tuscany, Toscani continued to innovate beyond the fashion industry. In 2003, he founded La Sterpaia, a research facility dedicated to modern communication, in collaboration with the Regione Toscana. His later projects, including campaigns addressing anorexia and LGBTQ+ rights, further demonstrated his commitment to using photography as a medium for social change. Toscani’s career was not without controversy. His 2005 campaign for the clothing brand Ra-Re, featuring images of men engaging in intimate behavior, sparked outrage among conservative groups. In 2007, his stark portrayal of anorexia through the haunting image of Isabelle Caro drew both acclaim and criticism for its raw honesty. Despite these controversies, Toscani remained a cultural force. When Luciano Benetton returned to the helm of the Benetton Group in 2018, Toscani rejoined him, marking a new chapter in their creative partnership. That same year, he became a member of Italy's Democratic Party, further highlighting his engagement with societal issues. Toscani faced health challenges in his later years, battling amyloidosis. He was hospitalized on January 10, 2025, and passed away three days later at the age of 82. Oliviero Toscani's legacy endures as a testament to the power of photography to challenge norms, inspire dialogue, and provoke change. His work reminds us that art can be more than an aesthetic endeavor—it can be a catalyst for understanding and transformation in the world.
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Thomas Jorion
Thomas Jorion
France
1976
Thomas Jorion (b. 1976, lives in Paris) photographs urban ruins and condemned buildings, spaces that no longer serve the purposes for which they were built. His work explores the built environment in a state of entropy, inviting viewers to reflect on the relationship between the material and the temporal.My work is based on our perception of time, how it passes and especially its lack of linearity. Some places seem frozen as time passes by. While our society is developing and changing very rapidly, these places are submitted to a distorted passing of time. They seem to be lifeless or in a waking state, although in reality they have their own link with time. I travel the world with one idea in mind, to find and show timeless islands. I choose to enter closed and abandoned places formerly alive, and often places of leisure or prestige to capture and share them. My fascination for the esthetic of abandoned places is the extension of an older tradition. The Romantics enjoyed strolling amidst the ruins of long lost civilizations. Centuries earlier, painters such as François de Nomé (1592 – 1623), Giovanni Battista Piranesi (1720-1778) and Hubert Robert (1733 – 1808) dedicated part of their work to these forgotten places. Somehow my photos are part of this process. The existence of timeless islands stems from a variety of contemporary phenomena. Though each of these islands has a particular origin depending on its location, all eventually evoke the disappearance of men. In Japan, the line between leisure and consumption is often blurry. Leisure activities that are deemed old-fashioned are disposed of – similar to those handkerchiefs, the “nuigishi,” given out for free on the streets by pretty young ladies. An example of this occurence (occurrence – deux R) is the three-storied, 108-lane bowling alley in a Tokyo suburb. Being out of use for some time, it soon is to be demolished. The expansion of new forms of leisure activities has also led to a booming hotel industry. Better and cheaper flight connections and the growing mobility of global citizens made the world a village, with every destination easy to reach. The province of Izu, which used to be a popular summer destination for the Japanese, is now competing with international destinations as in China or Korea. Hotel complexes or amusement parks now open for business or shut their gates according to short-lived trends in the tourism industry. In America the consequences of the economic crisis have been more disastrous than anyone could hardly have imagined. In the vast landscape of the United States, the possibility to build on new land is considered limitless. The habit of constructing new buildings instead of renovating old ones has proven rather catastrophic for the country. The dramatic consequences can be seen in cities such as Detroit MI, where the “white flag” phenomenon has made matters even worse. Other cities, such as Memphis, TN, or Bridgeport, CT have followed suit. Those cities’ entire cultural and social identities have decayed into ruin. The first places to have become useless for society were theaters, movie theaters, sport centers, schools and churches. Health care institutions, public housing, and judicial systems suffered, too… The failure of American Utopias, photographed by Joel Sternfeld in the late 70s, was already heralding deeper phenomena observed today. On the old continent, the reasons are multiple and the consequences are often the same. Struck by a major structural transformation from industrial to post-modern societies many countries had to turn away from their heavy industry. Gigantic textile factories in Northern Italy have completely disappeared, even sumptuous villas of industrialists were forsaken and left to decay. Twenty years after the reunification this development can also be seen in Germany, where factories became completely unsuitable for the global economy and whole regions became deserted due to migration. There is no denying that these abandoned places now cover all continents and in the name of the profit motive tends to amplify this phenomenon. As for my photographic practice, I wish to conserve the rawness of the places that I observe. This represents a challenge. The frame must be arranged in accordance with the layout of the space and the available light. For me, this reinforces the immaculate and timeless aspect of the place. My use of a large format camera allows me to make sharp and detailed images that contain a variety of focal points, textures, and depths. Capturing the richness of such pictures takes much time, which in turn reduces the number of photographs I can take. The choice of color film is important because it anchors the place within the present moment and allows for a faithful rendering of things seen. This eliminates the austere quality of certain spaces. For example, in the Piedmont theater, the blue, yellow, and brown are muted and soft colors, but they correspond well together to reveal a new beauty. Source: www.thomasjorion.com
Kathryn Oliver
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
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