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Gerhard Wagner
Gerhard Wagner
Gerhard Wagner

Gerhard Wagner

Country: Austria
Birth: 1966

The reason why I take street-pictures is to catch and perpetuate short moments in life. I love Street photography and have been photographing on the street with passion since 2015... Although I probably already did street photography unconsciously in 1998, partly in my subconscious, when I look at some photos from the archive today... In my opinion, honest authentic photography does not have anything to do with image processing application or image montage. I shot only candid and unposted scenes. I took my first pictures with a Polaroid camera when I was 11 years old...I try to get better every day...Here you’ll get an impression about street photography, the way I see it. Let us retain and admire (urban) moments together

Websites

@streetphoto_wagner

www.facebook.com/StreetphotoWagner

 

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Arthur Rothstein
Arthur Rothstein
United States
1915 | † 1985
Arthur Rothstein was an American photographer. Rothstein is recognized as one of America's premier photojournalists. During a career that spanned five decades, he provoked, entertained, and informed the American people. His photographs ranged from a hometown baseball game to the drama of war, from struggling rural farmers to US Presidents. ...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph. -- Arthur Rothstein The son of Jewish immigrants, Rothstein was born in Manhattan, New York City, and he grew up in the Bronx. He was a 1935 graduate of Columbia University, where he was a founder of the University Camera Club and photography editor of The Columbian, the undergraduate yearbook. He was a classmate of abstract painter Ad Reinhardt. Following his graduation from Columbia during the Great Depression, Rothstein was invited to Washington DC by one of his professors at Columbia, Roy Stryker. Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, Rothstein prepared a set of copy photographs for a picture sourcebook on American agriculture that Stryker and another professor, Rexford Tugwell were assembling. The book was never published, but before the year was out, Tugwell, who had left Columbia to be part of FDR's New Deal brain trust, hired Stryker. Stryker hired Rothstein to set up the darkroom for Stryker's Photo Unit of the Historical Section of the Resettlement Administration (RA). Arthur Rothstein became the first photographer sent out by Roy Stryker, the head of the Photo Unit. During the next five years he shot some of the most significant photographs ever taken of rural and small-town America. He and other FSA photographers, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the living conditions of the rural poor in the United States. The Resettlement Administration became the Farm Security Administration (FSA) in 1937. Later, when the country geared up for World War II, the FSA became part of the Office of War Information (OWI). The photographs made during Rothstein's five-year stint with the Photo Unit form a catalog of the agency's initiatives. One of his first assignments was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana. The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead II, a Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration. The Farm Security file would never have been created if we hadn’t the freedom to photograph anything, anywhere in the United States—anything that we came across that seemed interesting, and vital. -- Arthur Rothstein On February 18, 1937, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, and was preparing an article on tenancy for the July issue of The American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that Life [magazine] will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip, and Rothstein went to Gee's Bend alone. The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture reflected an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs. Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured. There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of August 22, 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian—and African—values. In 1940, Rothstein became a staff photographer for Look magazine but left shortly thereafter to join the OWI and then the US Army as a photographer in the Signal Corps. His military assignment took him to the China-Burma-India theatre and he remained in China following his discharge from the military in 1945, working as chief photographer for the United Nations Relief and Rehabilitation Administration, documenting the Great Famine and the plight of displaced survivors of the Holocaust in the Hongkew ghetto of Shanghai. In 1947, Rothstein rejoined Look as Director of Photography. He remained at Look until 1971 when the magazine ceased publication. Rothstein joined Parade magazine in 1972 and remained there until his death. He was the author of numerous magazine articles and a staff columnist for US Camera and Modern Photography magazines and the New York Times, Rothstein wrote and published nine books. Rothstein's photographs are in permanent collections throughout the world and have appeared in numerous exhibitions. A selection of these one-man shows include shows at the International Museum of Photography at George Eastman House; the Smithsonian Institution; Photokina; Corcoran Gallery of Art; Royal Photographic Society, as well as traveling exhibitions for the United States Information Service and for Parade magazine. He was a member of the faculty of the Columbia University Graduate School of Journalism and a Spencer Chair Professor at S. I. Newhouse School of Public Communications, Syracuse University. Rothstein was also on the faculties of Mercy College, and the Parsons School of Design in New York City, and he took great pride in mentoring young photographers including Stanley Kubrick, Douglas Kirkland, and Chester Higgins, Jr. A recipient of more than 35 awards in photojournalism and a former juror for the Pulitzer prize, Rothstein was also a founder and former officer of the American Society of Magazine Photographers (ASMP). Arthur Rothstein died on November 11, 1985, in New Rochelle, New York.Source: Wikipedia It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality. -- Arthur Rothstein
Platon (Antoniou)
Platon (Antoniou)
United Kingdom
1968
Born in London in 1968, Platon was raised in the Greek Isles until his family returned to England in the 1970's. He attended St. Martin's School of Art and after receiving his BA with honors in Graphic Design, went on to receive an MA in Photography and Fine Art at the Royal College of Art. After working for British Vogue for several years, he was invited to NY to work for the late John Kennedy Jr. and his political magazine, 'George'. After shooting portraits for a range of international publications including Rolling Stone, the New York Times Magazine, Vanity Fair, Esquire, GQ and the Sunday Times Magazine, Platon developed a special relationship with Time magazine, producing over 20 covers. In 2007 Platon photographed Russian Premier Vladimir Putin for Time Magazine's Person Of The Year Cover. This image was awarded 1st prize at the World Press Photo Contest. In 2008 he signed a multi-year contract with the New Yorker. As the staff photographer, he has produced a series of large-scale photo essays, two of which won ASME Awards in 2009 and 2010. Platon's New Yorker portfolios have focused on many themes including President Obama's Inauguration, the U.S Military, portraits of world leaders and the Civil Rights Movement. The following year, Platon teamed up with the Human Rights Watch to help them celebrate those who fight for equality and justice in countries suppressed by political forces. These projects have highlighted human rights defenders from Burma as well as the leaders of the Egyptian revolution. Following his coverage of Burma, Platon photographed Aung San Suu Kyi for the cover of Time - days after her release from house arrest. In 2011, Platon was honored with a prestigious Peabody Award for a collaboration on the topic of Russia's Civil Society with The New Yorker Magazine and Human Rights Watch. Platon's first monograph 'Platon's Republic', was published in 2004 by Phaidon Press. To coincide with its publication, the work was exhibited internationally, in London at the ex-Saatchi Gallery as well as the Milk Gallery in New York. His second book, 'Power' - a collection of portraits of over 100 world leaders - was published in 2011 by Chronicle and following its success was selected by Apple to be released as an app. The book includes portraits of Barack Obama, Mahmoud Ahmedinejad, Dmitry Medvedev, Benjamin Netanyahu, Hugo Chavez, Mahmoud Abbas, Tony Blair, Robert Mugabe, Silvio Berlusconi, and Muammar Qaddafi. In recent years, public speaking has progressively played a major role in Platon's career as communicator and storyteller. He has been invited to be a keynote speaker at the World Economic Forum in Davos, Yale, the London School of Economics, the National Portrait Gallery in London and the International Center of Photography in NY. He has also appeared on a range of television media including Charlie Rose (PBS), Morning Joe (MSNBC), Fareed Zakaria's GPS (CNN) and the BBC World News. Between 2011-2013, Platon's work has been exhibited in galleries both domestically and abroad. He has exhibited in New York at the Matthew Marks Gallery and the Howard Greenberg Gallery, as well as internationally at the Colette Gallery in Paris, France. The New York Historical Society also exhibited a solo show of Platon's Civil Rights photographs, which remain as part of the museum's permanent collection. Other permanent collections holding Platon's photography include The Florida Museum of Photographic Arts in Tampa, Florida and The Westlicht Museum for Photography in Vienna, Austria. Platon's advertising credits include the United Nations Foundation, Credit Suisse Bank, Exxon Mobil, Diesel, the Wall Street Journal, Motorola, Nike, Converse, Verizon, Vittel, Levi's, IBM, Rolex, Ray-Ban, Tanqueray, Kenneth Cole, Issey Miyake, Moschino, Timex and Bertelsmann among others. Platon lives in New York with his wife, daughter and son. (Source: www.platonphoto.com)
Jill Freedman
Jill Freedman
United States
1939 | † 2109
Jill Freedman was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of the Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale de France, Paris, among others. She appeared in solo and group exhibitions throughout the world, and contributed to many prominent publications. Jill Freedman was best known for her street and documentary photography, recalling the work of André Kertész, W. Eugene Smith, Dorothea Lange, and Cartier-Bresson. She published seven books: Resurrection City; Circus Days; Firehouse; Street Cops; A Time That Was: Irish Moments; Jill’s Dogs; and Ireland Ever. Jill Freedman lived and worked on the Upper West Side of New York City. The Joy of Photography "When I was seven I found old Life Magazines in the attic. My parents had kept the ones from the war and for a year I used to go up there after school, look at the pictures, cry, then go play softball. When my parents realized that I had found them and how they affected me, they burned them, but it was too late, those pictures had burned into my brain. Outwardly I was normal, but those images were always with me, and in my dreams. Even now I can see them, the man who had tried to escape the burning barn, the concentration camp. I majored in Sociology in college, then spent a few years traveling around Europe singing for my supper. I’d spend the days wandering around, searching for adventure, meeting all kinds of eccentric characters and loving their stories. When I ran out of money I’d sing again. I settled in New York, got a job, tried to figure out what I wanted to do. Something meaningful, not just work. I was starting to worry. Then one day I woke up and wanted a camera. I borrowed one. I had never taken a picture before, and as soon as I held it in my hands it felt good. I never had the sense of holding a machine. I read the instructions, went out into the street, shot two rolls, had them developed. I was thunderstruck. It were as though I had been taking pictures for years, but in my head, without a camera. “That’s it,” I said. “I’m a photographer.” What a relief. Photojournalism was always it for me. Those pictures in the attic had set my course. Those, and all the characters I’d met. To tell a story in the blink of an eye, have it printed so that millions of people could see it and wrap their fish in it, to have my pictures reach people the way those Life magazines had reached me, now that was doing something. I am self taught. I got a copywriting job to support myself and I started learning, devouring books and looking at good work, walking a lot, and shooting. Those early years were fired with an intensity and passion I had never felt before. I was obsessed and driven. I thought about photography all of the time. And my pictures, if no one else had liked them, it wouldn’t have mattered, I loved them. Sometimes I’d look at them and think, What if I wake up one day and it’s gone? What if it goes away like it came? With each paycheck I bought equipment and built a darkroom and when I finally made my first print, I was hooked for good. It was the first time that I had ever finished something I had started. My father used to say, “You blow hot and cold.” But it was magic, watching it come up in the developer. I still feel it. I worked hard, learning my craft. I like to work two ways, either on a specific idea or just wandering around, getting lost, snapping. Eventually, all the wanderings go together, and then I find out what I’ve been doing. Photography is magic. You can stop time itself. Catch slivers of moments to savor and share time and again. Tell beautiful silver stories, one photo alone, or many playing together to form a book. A photograph is a sharing, it says “Hey, look at this!”, it’s a miracle, is what it is. And when you’re going good and you get a new picture you love, there’s nothing better. That’s the joy of photography, and the fun." -- Jill Freedman Source: www.jillfreedman.com Freedman was born in Pittsburgh in 1939 to a traveling salesman and a nurse. After college, she traveled to Israel and England before taking up copywriting jobs in New York to sustain herself. She had not grown up taking photographs, but she said in New York one day she “woke and wanted a camera,” according to an essay she published on her website. She wrote that she was inspired by copies of Life Magazine she had pored over as a child. Looking back on a photograph from the early years of her career in a 2017 interview with The Guardian, Freedman said activism and protests had been the catalysts for her photography: "I studied sociology and anthropology and now realise that what I’ve been doing with my camera all these years is documenting human behavior. But I was taking pictures in my head long before I became a photographer. It was the Vietnam war that changed everything for me. I was angry and wanted to photograph anti-war demonstrations, so got my first camera." After her stint in activism, Freedman joined the circus for several months, taking mesmerizing photographs of clowns, chained elephants, and beartamers. Freedman applied a similar level of vigor and rigor to documenting the lives of public servants, photographing intimate moments of firefighters’ and policemen’s work. She followed firefighters in Harlem and the South Bronx for two years at a time women tended to not be allowed in these environments, offering her an unguarded view of their lives. She also took a positive view of cops and thought they faced unfair criticism. “I set out to deglamorize violence,” Freedman told the New York Times in 2015. In the 1980s, Freedman started to work less due to health complications, receiving a breast cancer diagnosis in 1988 and breaking her pelvis later. She had hoped to create one last photobook before she died, to be titled Madhattan, and was featured in the street photography documentary Everybody Street (2013), alongside the likes of Bruce Davidson and Joel Meyerowitz. The Steven Kasher Gallery organized an exhibition spanning four decades of her career in 2015 and, in 2017, a show devoted to her Resurrection City photographs.Source: Artsy
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
Raymond Cauchetier
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
Antonio Masiello
Antonio Masiello
Italy
1987
Antonio Masiello was born in Rome on 1987. Journalist since 2013, he documented the Kosovo and Lebanon for the foreign mission of Italian army between 2013 and 2014. On 2015 he began a collaboration with the photo agency Nurphoto, for which he follows the main international news. His works are currently published in the main foreign magazines, among others: TIME Magazine, The Wall Street Journal, Newsweek USA and Europe, The week USA, Vanity Fair USA, Fortune, Mashable, Frankfurter Allgemeine, The Guardian, The Times, The independent, Die Zeit Magazine, The Sun, The Telegraph, Internazionale, Panorama. With his work on the refugees in Greece, he won the Award of Excellence at the Picture of the year international (POYi) and is a Finalist in the LensCulture Exposure. He is based and works in Rome.
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
Nakaji Yasui
Nakaji Yasui
Japan
1903 | † 1942
Nakaji Yasui was one of the most prominent photographers in the first half of the 20th century in Japan. Yasui was born in Osaka and became a member of the Naniwa Photography Club in 1920s and also became a member of the Tampei Photography Club in 1930. His photographs cover a wide range from pictorialism to straight photography, including photomontages. He appreciated every type and kind of photograph without any prejudice and tried not to reject any of them even during wartime. Source: Wikipedia Nakaji Yasui was born in 1903 in Osaka and passed away in 1942. From the 1920s on, Yasui was an active photographer in the Kansai region of Japan; he is now seen as one of the most prominent Japanese photographers of the prewar period. At the very beginning of an era in which Japanese photography would express itself in a way that was both more international and more in step with the times, Yasui produced his photographs while enthusiastically incorporating many new theories of art into his work—and thinking extremely carefully about how these theories might impact his own development within the context of that time in Japan. Although Yasui’s career was short, his work has influenced Daido Moriyama and many other important contemporary Japanese photographers. In 2010, His major photography publications include the essay Landscape Photography in Practice (1938) and the photography book Nakaji Yasui photographer 1903-1942 (2004). Taka Ishii Gallery produced “Nakaji Yasui Portfolio” (a set of 30 modern prints in a limited edition of 15). Source: Taka Ishii Gallery
Nick Turpin
Nick Turpin
United Kingdom
1969
Nick Turpin is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. He studied an art and design foundation course at the University of Gloucestershire, specializing in photography; then a BA in photography, film and video at the University of Westminster. Whilst at university he showed his second-year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding). Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like-minded photographers to hold exhibitions, produce books, and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018. His work has been published in his own book, On The Night Bus (2016), and in various survey publications, as well as being included in a number of group exhibitions. He publishes through Nick Turpin Publishing, makes short films, and gives workshops on street photography.Source: Wikipedia Artist Statement "There is something about the making of photographs in public places that resonates with me more than any other kind of photography. I think it simply suits my personality. It’s nice, when taking pictures in the street, not to have to participate in any way in the stream of life passing you by. It makes me feel special to be there but not to be chatting, not to be shopping or not even to be heading for somewhere else. I feel like I am invisible to the passing crowds. This in turn leads to a loss of my sense of self, which is the finest feeling of all. Having worked for several years both in newspapers and advertising, I am fascinated by the things that I ‘choose’ to photograph when I leave the house with my camera but without a ‘story’ or ‘brief’ to fulfill. These ‘choices’ are revealing,in some way, of who I am. I go to the busiest, public places to discover something very personal and private. It is an inescapable truth that the resulting photographs are as much about my inner state as they are about the external world they were made in. They are all self-portraits. It is important to me that my personal pictures don’t have to ‘do’ anything. They don’t have to sell in a gallery or sit well beside the ads in a magazine. I don’t have to make pictures that are easily categorised. They are not reportage, there is no subject, they are not art, there is no great technical craft or aesthetic beauty. They are just pictures about life. For these reasons, Picture Editors, Art Directors and Curators don’t know what to do with them, where to put them. I like that." -- Nick TurpinSource: In-Public
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Interview
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
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Exclusive Interview with Sander Vos
Interview
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
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Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Interview
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
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Exclusive Interview with Manuel Besse
Interview
Exclusive Interview with Manuel Besse
French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
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