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Jimmy Nelson
Jimmy Nelson

Jimmy Nelson

Country: United Kingdom
Birth: 1967

Jimmy Nelson, born in 1967, embarked on a transformative journey across Tibet at age 17, captured by English National Geographic. He became a photojournalist, covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide.

James Philip Nelson, born in 1967 in Sevenoaks, Kent, led a diverse childhood marked by travels across Africa, Asia, and South America alongside his father, a geologist for International Shell. At 16, he developed Alopecia totalis, triggered by stress and malaria medication. A year later, he embarked on a two-year trek across Tibet, capturing the journey with a small camera. Upon his return, his images were published by English National Geographic. Subsequently, Nelson ventured into photojournalism, documenting war zones and later commissioned by Shell Oil for Literary Portraits of China. Transitioning to commercial advertising in 1997, he continued to document remote cultures.

In 2010, Nelson embarked on his second book, Before they Pass Away, a three-year endeavor photographing over 35 indigenous tribes worldwide. Using a 50-year-old 4x5in camera, Nelson drew inspiration from Edward S. Curtis, aiming to romantically portray his subjects. He emphasized that the project was not about factual accuracy but rather his artistic interpretation of diversity and beauty. Tribes photographed included the Huli and Kalam tribes of New Guinea, the Tsaatan of Mongolia, and the Mursi people of Ethiopia's Omo River valley. Financing came from Dutch billionaire Marcel Boekhoorn, resulting in a published book with photographs, texts, and limited editions.

In September 2018, Nelson released his third book, Homage to Humanity, featuring over 400 photographs showcasing 30 indigenous cultures. The book includes interviews with tribal members, infographics about the depicted locations and cultures, and an application incorporating 360° film material linked to the images, along with behind-the-scenes videos and travel background information. Nelson collaborated with assistant Stephanie van der Wiel, whom he met at Leiden's National Museum of Ethnology. "Homage to Humanity" aims to be more inclusive than Nelson's previous work, addressing criticisms of his earlier book, "Before they Pass Away." Papuan chief Mundiya Kepanga emphasizes in the foreword the importance of preserving cultural values and identity for future generations.
 

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Mark Coggins
United States
1957
Mark Coggins is a crime-fiction novelist and photographer. Five of his six award-winning novels are illustrated with images taken by him. His photos have been exhibited in galleries across the country and have been featured in books of other authors, notably Red Mist by Patricia Cornwell and A Lover's Discourse: Fragments by Roland Barthes. He has written about photography for View Camera magazine and is a contributor to Getty Images.All About Photo: When did you realize you also wanted to become a photographer?Mark Coggins: I've been interested in photography for a long time. I had a darkroom with a friend in grade school where I developed and printed pictures I took with an old 35mm Bolsey rangefinder camera my father gave me, but didn't really get serious about it until my mid-30's when I took a view camera class with Mark Citret. All About Photo: Where did you study photography? With whom? Mark Coggins: I've taken a number of classes and workshops with Mark Citret. While Mark is primarily a large-format photographer and I was initially interested in large format as well, I've evolved into more of "street photographer" using digital 35mm equivalents. However, I believe the training in large format has given me a deeper appreciation of composition, depth of field and exposure that is quite beneficial in making my images. All About Photo: Do you take photographs between books or at the same time? Mark Coggins: I move fluidly between writing and photography, doing both pretty much at the same time. When I photograph to illustrate my novels, of course, the two are yoked together in the service of the same goal. All About Photo: Does your writing influence your photography or vice versa? Mark Coggins: A bit of both. Originally, I was using photography to document street scenes I wanted to describe in my books. Then I hit upon the idea of including the photos I was taking in the books. Later I began to alter the plot of my books to have an excuse to include photos I liked that I had taken without reference to a particular scene. All About Photo: What lead you to photography and why? Mark Coggins: In the very beginning, it was the photos my father had taken during the Korean War with the 35mm Bolsey camera he eventually gave me. My mother recently found a box of his old negatives and slides, and several images-particularly of Korean children-are quite good. All About Photo: Do you remember your first shot? What was it? Mark Coggins: I don't remember the first photo I took, but I do remember the first one I developed and printed (around the age of 12). It was a snapshot of a large toy rubber beetle of my brother's. Not great art! All About Photo: What was your first paid assignment/job? Mark Coggins: The first print I sold was the photo of two chess pieces on a board that was used for the cover of my first novel, The Immortal Game. Several bookstores carried prints of the photo to sell to collectors who had enjoyed the book. All About Photo: What or who inspires you? Mark Coggins: I photograph street scenes from cities throughout the world. What inspires me most is capturing groups of people interacting or engaged in a common activity, rather than simply taking street portraits of individuals, although I have plenty of those in my portfolio. All About Photo: How could you describe your style? Mark Coggins: I like sharply focused images with a full tonal range, pulling in as much detail as I can in the shadows. Most all my work is black and white with a colder toning. All About Photo: Do you have a favorite photograph or series? Mark Coggins: "Geisha Confidential." It was taken one evening in Kyoto, Japan. I was walking down a back street in the older part of town when a cab with a geisha pulled up. The cab driver went in to an adjacent building to retrieve a second geisha. The photo documents the moment when the second joined the first and they began an urgent conversation.I like the image both because I was so extraordinarily fortunate to be in a position to take it and because I did a fair amount of editing to achieve the nourish atmosphere (I believe) it conveys. All About Photo: What kind of gear do you use? Camera, lens, digital, film? Mark Coggins: I mostly use Fujifilm rangefinder digital cameras, which is perhaps appropriate since my first camera was the Bolsey rangefinder. I also have a full-frame Nikon DSLR that I use for non-street photos. All About Photo: What is the influence of digital technology on your photography? Mark Coggins: Although my serious interest in photography began with my involvement with large format film photography, I was never that good a printer. It wasn't uncommon for me to like the Polaroid proof I took of a particular shot more than I did of the final print. If, as Ansel Adams said, the negative is the score and the print is the performance, I was blowing it during the performance. Digital has made me a better performer. All About Photo: Do you spend a lot of time editing your images? For what purpose? Mark Coggins: I do a fair amount of editing. I often crop, convert to black and white, dodge and burn where necessary and try to make sure I've gotten as much detail in the shadows as I can. I also tone my images on the colder range of the scale. All About Photo: How do you choose your subjects? Mark Coggins: I look for interesting people interacting in interesting ways on the street. All About Photo: Favorite(s) photographer(s)? Mark Coggins: Oh, there are so many. Mark Citret, of course. From there, in no particular order, Sally Mann, Edward Weston, Ruth Bernhard, Eugène Atget, Diane Arbus, Robert Frank, Henri Cartier-Bresson. All About Photo: What advice would you give a young photographer? Mark Coggins: I can't tell you how to do this, but I do believe it is important: to develop one's own style. It took me a long time to do it, and I only realized I had done so long after the achievement. It's not a paint-by-numbers type goal. All About Photo: What mistake should a young photographer avoid? Mark Coggins: Although I've been guilty of it myself, I see a lot of photographers over-manipulating images. Perhaps it's the influence of Instagram filters. All About Photo: What are your projects? Mark Coggins: I shot continuously in my home city of San Francisco, but for some reason, my best photos seem to come during travel to foreign countries. I'm planning a trip to several new (to me) European cities this summer. All About Photo: Your best memory as a photographer? Mark Coggins: When the Patricia Cornwell's publisher contacted me about using my photo of Savannah's Colonial Park Cemetery for the endpapers of her novel Red Mist. All About Photo: Your worst souvenir as a photographer? Mark Coggins: Over-exposed 4x5 negative of what I was certain to be a great shot when I didn't properly seat the bag bellows of my large format camera. All About Photo: The compliment that touched you most? Mark Coggins: When my mother hung one of my (really not very good) photos in her living room next to a watercolor by very accomplished artist. All About Photo: Your favorite photo book? Mark Coggins: Along the Way by Mark Citret. All About Photo: An anecdote that comes to your mind? Mark Coggins: I lived next to Ruth Bernhard in San Francisco for several years. I'm embarrassed to admit that I didn't really understand her importance to the photography world until I met her at a party. All About Photo: Anything else you would like to share? Mark Coggins: Another anecdote: when I shut down my darkroom, I sold my sink to music photographer Tom O'Neal, who photographed the cover of Crosby, Stills, Nash and Young's Deja Vu album.
Vee Speers
Australia
or over two decades, Australian Paris-based artist Vee Speers has established herself in the art world with her unforgettable portraits. Her carefully choreographed images are painterly and ethereal, with a visual and metaphorical ambiguity which challenges established narratives. In her iconic series The Birthday Party, she eternalises the innocence of childhood with timeless portraits that are at once hauntingly beautiful and provocative. She dresses, styles and sometimes masks her characters, creating enigmatic stories to blur the line between reality and fiction and highlighting our need to escape into fantasy. Speers succeeds in choreographing characters that offer allegorical glimpses into life, triggering memories and emotions from our own childhood. From the legend of the Phoenix, Speers draws inspiration for her most recent work Phoenix, an evocative story about passion, love and loss and an homage to the anonymous women. In this series Phoenix, the battles are over and the flames and ashes disappear. Emerging is the emboldening force of liberation as these women of all ages are on the threshold of new beginnings. At once powerful and vulnerable, Speers' portraits are timeless symbols of transformation between life and loss and the renaissance of a new identity. Speers' work has been exhibited in museums, galleries, art fairs and festivals around the world, and published in features and on covers of more than 60 international magazines, with 3 sold-out monographs of her work. Her photographs have been acquired by Sir Elton John Collection, Michael Wilson Collection, Hoffman Collection U.S. , Carter Potash Collection, Morten Viskum Collection, Alan Siegel, Lawrence Schiller, DZ Bank, Museum of Fine Arts Houston, Museum 21C, Kentucky, George Eastman House, Beth Rudin Dewoody, Hudson Bay Company Art Fund, CB Collection, Tokyo. More about Vee Speers: AAP: When did you realize you wanted to be a photographer? Vee Speers: I’ve always thought photography was magical as my father had his own darkroom. When I went to art school, I realized that the instant way of capturing an image suited my impatient personality. Where did you study photography?QCA, Brisbane, Australia Do you have a mentor or role model?Not really. I don’t like to follow. What or who inspires you?The cinema is a constant source of inspiration. A story is told, and the way it is filmed can transport you to another time or place. Still images can be the same. How could you describe your style?Playful, beautiful, strange, melancholic, obvious and unexpected. Do you have a favorite photograph or series?The Birthday Party and Bulletproof This is two series photographed 6 years apart using the same children. What kind of gear do you use?Polaroid film and medium format cameras. Do you spend a lot of time editing your images? For what purpose?No, I know right away when I’ve taken a good shot. Or if I haven’t. What advice would you give a young photographer?Know what you want and don’t be distracted from your goal. Don’t listen to what anybody else says. What mistake should a young photographer avoid?Accepting to shoot anything that will compromise his or her personal journey. An idea, a sentence, a project you would like to share?Don’t be afraid.What are your projects?Portraits, portraits and more portraits. Your best memory as a photographer?There are so many. Every time I take a great image, I feel so excited, like everything has lined up perfectly. These are the best memories. The compliment that touched you most?A woman once told me that my work had changed her life. If you were someone else who would it be?Diane Arbus, with all those wonderful and strange people to photograph. Your favorite photo book?Lord of the Flies by William Golding.
Thierry Camus
France
1959
From the black and white film photo lab of my teenage high school to my full-size CANON of today, passing through slides in the 90s and the arrival of digital in the early 2000s : a lifetime with photography as a passion, amateur and self-taught. Over the years, my way of taking pictures matured and I felt like "interpreting" what I was seing, discovering the world and showing it in my own way. Taking pictures meets the need and the secret desire, to leave a trace of this vision and to convey an emotion. Offering my point of view and expressing my uniqueness, this is what being a photographer means to me. ARCHITECTURAL photography fascinates me and the city is my inexhaustible source of inspiration, the URBAN BODY. It’s not the building itself that interests me, but its LINES and COLORS, as shown by my first serie "my LINES on BLUE" and "STRICTLY LINE". Then architectural photography became URBAN LANDSCAPE, mixing stone and urban objets, always without human pesence, to forget scale and remain abstract. That brought me to my serie "STRICTLY COLOR". « Locked up at home » during the first confinement, I discovered that natural light could create interesting shadows and reflections on my everyday objects surrounding me. It was giving them poeetry and even sensuality, and a real architectural spirit … I created my last series "at HOME" and "my POETRY of the ORDINARY". Always the same thread : LINES and COLORS. Exterior or interior architecture, with details taken out of their context, with frontal, tight and minimalist framings, and unusual angle views, all references are lost. My images become almost unreal and theatrical, in order to exacerbate strength, materiality, power and sometimes violence of buildings and objects. Playing with geometry and shapes being drawn by colors, they are highly graphic. I like that « decisive moment » when I look for the photo, find it, integrate it, then shoot it and, last but not least, interpret and finalize it. I am happy to share this work.
Oleksandr Rupeta
Ukraine
1981
Oleksandr Rupeta is a documentary photographer from Ukraine working worldwide. He is a member of the Independent Media Trade Union Of Ukraine and the International Federation of Journalists from 2016 and a member of the Ukrainian Association of Professional Photographers and Federation of European Photographers from 2018. As a news and reportage photographer, Oleksandr carries out short and long-term projects about political, cultural, and social life in Europe, Africa, the Middle East, and Asia. His works highlight Ukrainian-Russian conflict, Afghan Red Crescent Society, the life of Iranian Jews community, Sufi Community in Northern Cyprus, people with disabilities in Southern African countries, ethnic minorities in Azerbaijan, LGBT community in the Balkans, elephant conservation in Laos, robotics in Japan, etc. The photos appeared in The New York Times, The Financial Times, The Times, The Guardian, The Economist, Time, Nature, Forbes, National Geographic Traveler and others. His news photos were chosen numerous times as a photo of the day, a photo of the month and a photo of the year in agencies such as NurPhoto, Zuma Press and GettyImages reportage. About Someone in your corner From the middle of the XX century, the tendency of keeping animals as pets has been increased in their number and variety. There are many reasons for this phenomenon. First of all, the technological development improved the overall standard of living. Human attitudes towards animals are becoming of increasing importance and less pragmatic. When a man moves away from nature he begins to use animals as compensation for the lost connection. As a result, animals are engaged in social relations with a human. As family members, pets are changing not only their behavior but also the behavior of the owners. They build complex interdependent relationships. In Ukraine, like the entire post-Soviet space, this tendency has become widespread with gaining independence. Open borders facilitated the transportation of exotic animals and their purchase became quite easy. Keeping unusual animals ceased to be the prerogative of a privileged few. Instead of this came out a problem of the pet owners' ignorance who may have a lack of knowledge of proper exotic pet care. The idea for the project was to explore the mutuality and relationship of the human-animal bond in the modern world, to see and pay attention to the conditions of their interaction and coexistence. The project was created in the summer-fall 2019, throughout Ukraine. The primary eligibility criteria for choosing characters was the exclusion of all occasional owners, zoos, circuses and using animals in entertainment spectacles. But everything turned out to be more complicated than expected. Odd owners often saved their pets from death and mostly they showed true love to the pets. Other characters were chosen from people with a passion for animals. In addition to owning exotic animals as house pets, these people frequently try to link their lives with animals. Some of them organize private or home zoos, some work in pet shops, others try to find work at animal shelters or wildlife sanctuary. The project turned out wider than I planned but each shot in the series elucidates the special human-animal connection.
Claudio Rasano
Switzerland
1970
Claudio Rasano lives and works in Basel, Switzerland. His work explores the relationship between spaces and humans, the subject within the space and the space as the subject itself. Rasano has a genuine and identifiable style that crosses documentary and fine art practices. He works with people from similar backgrounds, circumstances and experiences - environmental portraits and landscapes depicting a quiet anthropological commentary. There is a strong relationship between the environmental portraits and the landscape images. He is the recipient of Photovogue Portraits 2017, Taylor Wessing Photographic Prize 2016, Lensculture portrait award Finalists, Syngenta Photography Award Unseen and Life 2017 Framer World Travellers. 2019 Meitar Award for Excellence in Photography at PHOTO IS:RAEL Statement My work may cross countries and continents, but there is one thing that features centrally throughout, people. People are the focal point of his work, whether it's schoolchildren in South Africa or cigarette sellers in Tirana, the story of the country that Claudio is working in is told through its people. "I love to explore the relationship between spaces and humans, the subject within the space and the space as the subject itself, I work with people from similar backgrounds, circumstances and experiences -environmental portraits and landscapes depicting a quiet anthropological commentary. It is important for me to see that there is a strong relationship between environmental portraits and landscape images." His work is focused around the human stories of an area, but in many cases it is not just the person that is of interest. The composition of many of his images, even when portraits, provides a snapshot of the landscapes and built environments that are around the subject. This contextualises many of his photographs, helping you to build a more rounded impression of the individuals based on their surroundings too - the perfect example of this being his image of South African workmen in sodden clothes.
Tatiana Bormatova
Tatiana Bornatova is a documentary photographer from Moscow, now is based in Sevastopol. She currently engaged in personal projects in Russia. Her work focuses on topics devoted to social problems and phenomena of modern Russian society. She studied documentary photography and photojournalism at the School of Modern Photography Docdocdoc (St. Peterburg, Russia). Continues to study in the direction of post-documentary photography. Her projects were published in the REGNUM News Agenсу, IZ Magazine, FLIP Magazine, F-Stop Magazine, Dodho Magazine. Tatiana became a participant in the projection festival Nuits Photographiques d’Essaouira (Essaouira, Morocco) and World Biennial Of Student Photography (Novi Sad, Serbia). Underground In ancient underground quarries, all is in full swing by day and night. Both adventurers and serious researchers - speleologists and spelestologists - come here. Speleology is the study of naturally - occurring caves, and spelestology is the study of underground cavities not used for intended purposes. In the fourteenth century, in Outer Moscow people began mining stone underground using closed methods. It lasted until the nineteenth century. Under Stalin, entrance to the underground was strictly forbidden, but this did not stop people going on adventures. In the 1960s, the masses started to venture into the underground. Then they started to blow up the entrances to caves. Access to the underground became much more difficult, but the interest for anthropogenic underground caves did not cease to exist. Starting in the 1980s, spelestologists and enthusiasts again started to look for underground caverns, previously forbidden in Soviet times. The analysis of old rubble, digging up and exploring passages, and topographic surveys all require staying underground for several days at a time. In the caves specialists would start to allocate grottos for toilets, sleeping, eating and collecting water, as well as strengthening areas that were prone to collapsing. The walls were covered with drawings, inscriptions, artefacts and graffiti. These new traditions and rules resulted in the formation of new subcultures. Visiting caves now is very entertaining. More and more often, they are being visited by thrill seekers, people who like to drink, unofficial excursion groups, and bloggers. Often people go underground without knowing basic safety precautions. That said, the risks in underground caves are not few: one could get lost or end up in a rock collapse. Spelestologists think negatively of amateurs who try to prevent filming and unofficial tours. A few of the researchers carry out excavations and study the underground caverns, but the increase in popularity is starting to disturb their work. They try to keep the whereabouts of newly discovered caves secret. The photographs in this project were taken in the Moscow Oblast, in the Syankovsk and Novlensk caves, and also in the Kamkinsk quarry, more well-known as Kiseli.
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
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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.
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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