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LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Luigi Ghirri
Luigi Ghirri

Luigi Ghirri

Country: Italy
Birth: 1943 | Death: 1992

Luigi Ghirri, born on January 5, 1943, in Scandiano, Emilia-Romagna, Italy, was a trailblazing photographer renowned for his innovative use of color. Ghirri's early life in this picturesque region profoundly influenced his artistic vision. Initially trained as a surveyor, he began experimenting with photography in the early 1970s, a time when the medium was predominantly monochrome and used mainly for documentation and advertising.

Ghirri diverged from the norm by embracing color photography as a legitimate artistic form. His work delved into the social and cultural changes sweeping through Italy during the 1970s, particularly the infiltration of advertising and the rise of leisure activities. His images often feature everyday scenes, landscapes, and urban environments, infused with a sense of nostalgia and contemplation. He had an uncanny ability to find beauty in the mundane, transforming ordinary moments into profound visual narratives.

One of Ghirri's most significant contributions was his ability to convey the evolving identity of post-war Italy. His photographs from this era provide a vivid chronicle of the shifting social landscape, marked by consumerism and modernity, yet always maintaining a deep connection to the region's history and traditions.

In 1978, Ghirri published his first book, "Kodachrome," which became a seminal work in the field of color photography. This collection showcased his unique perspective and solidified his reputation as a visionary artist. He continued to produce influential works throughout the 1980s, including notable projects like "Il Profilo delle Nuvole" and "Viaggio in Italia," which further explored themes of travel, memory, and the passage of time.

Ghirri's approach was both methodical and poetic. He meticulously composed his shots, paying close attention to light, color, and composition. His photographs often feature elements of surrealism and irony, inviting viewers to see the world through his distinctive lens.

Despite his untimely death on February 14, 1992, Ghirri's legacy endures. His work has been celebrated in numerous exhibitions and retrospectives worldwide, influencing generations of photographers. Luigi Ghirri remains a pivotal figure in the history of photography, revered for his pioneering use of color and his profound ability to capture the essence of a changing Italy.
 

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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
Harvey Stein
United States
Harvey Stein is a professional photographer, teacher, lecturer, author and curator based in New York City. He currently teaches at the International Center of Photography. Stein is a frequent lecturer on photography both in the United States and abroad. He was the Director of Photography at Umbrella Arts Gallery, located in the East Village of Manhattan from 2009 until 2019 when it lost its lease and closed.. He has also been a member of the faculty of the School of Visual Arts, New School University, Drew University, Rochester Institute of Technology and the University of Bridgeport. A recipient of a Creative Arts Public Service (CAPS) fellowship and numerous artist in residency grants, Stein's eighth and latest book, Mexico Between Life and Death, was published in the fall of 2018 by Kehrer Verlag (Germany). A new book, Then and There: Mardi Gras 1979 will be published by Zatara Press in the Spring of 2020. Other books of Stein's photographs are Parallels: A Look at Twins, E.P. Dutton (1978); Artists Observed, Harry Abrams, Inc. (1986); Coney Island, W.W. Norton, Inc. (1998); Movimento: Glimpses of Italian Street Life, Gangemi Editore, Rome (2006); Coney Island 40 Years, Schiffer Publishing, (2011); Harlem Street Portraits, Schiffer Publishing (2013); and Briefly Seen New York Street Life, Schiffer Publishing (2015). Stein's photographs and portfolios have been published in such periodicals as The New Yorker, Time, Life, Esquire, American Heritage, Smithsonian, The New York Times, Reader's Digest, Glamour, GQ Magazine (Mexico), Forbes, Psychology Today, Playboy, Harpers, Connoisseur, Art News, American Artist, New York, People, Der Spiegel, Die Zeit, The Hopkins Review (cover), Sun Magazine (cover) and all the major photo magazines, including Camera Arts, Black & White Magazine (cover), Shutterbug, Popular Photography, American Photo, Camera, Afterimage, PDN, Zoom, Rangefinder, Photo Metro, fotoMagazine (Germany), photo technique, Zeke and View Camera. Stein's photographs have been widely exhibited in the United States and Europe — 86 one-person and over 165 group shows to date. He has curated 64 exhibits since 2007. His photographs are in more than 57 permanent collections, including the George Eastman Museum, Bibliotheque Nationale, the Art Institute of Chicago, the Museum of Fine Arts, Houston, the Brooklyn Museum of Art, the New Orleans Museum of Art, the International Center of Photography, the Denver Museum of Art, the Carnegie Museum of Art (Pittsburgh), the Portland (Oregon) Museum of Art, the Museum of the City of New York, Museet for Fotokunst (Odense, Denmark), Musee De La Photographie (Charleroi, Belguim), the Portland (Maine) Museum of Art, the American Museum of Natural History, the Santa Barbara Museum of Art, the Addison Gallery of American Art, The New York Historical Society and Museum, The Brooklyn Historical Society, and among others, the corporate collections of Johnson & Johnson, Hewlett Packard, LaSalle Bank (Chicago), Barclay Bank and Credit Suisse. Stein's work is represented by Sous Les Etoiles Gallery, New York City. Statement What do our photos say? That is an important question that we all wrestle with. I have always wanted to do strong and meaningful images. Not all our photos can be that, some are what I call "throwaways", fun and silly and not too serious. But basically I want to say something through my work. I think the best way to do this is through long term projects shot over time that gives us a deeper understanding of the subject. I love single images and they should also be strong, but I think more meaning comes from in depth studies of a subject, not one or a few photos of the subject. And I always want my images to be a reflection of how I think, behave, believe in. Remember: portraiture becomes self portraiture. As a writer usually reveals herself through her work, so does any artist, and as photographers, we are artists. I wish to convey a sense of life glimpsed, a sense of contingency and ephemerality. In experiencing these glimpses of life, I hope in turn to become more aware and knowing of my own life. I believe photographs speak to us; they are reminders of the past. To look at a family album is to recall a vanished memory or to see old friends materialize before our eyes. In making photographs, the photographer is simultaneously a witness to the moment and a recorder of its demise; this is the camera's power. Photography's magic is its ability to touch, inspire, and to connect to each viewer according to that person's unique sensibility and history. Exclusive Interview with Harvey Stein
Arkady Shaikhet
Russia
1898 | † 1959
Arkady Samoylovich Shaikhet was at the beginning a locksmith apprentice at a shipyard in Nikolaiev where he was born. He came to Moscow in 1918. At first he worked in a photographic studio were he retouched images of others but in 1924 his career as a photojournalist started. He worked for Rabochaïa Gazeta and the weekly Ogonek/Ogoniok. He was a pioneer in a new style of documentary photography called " artistic reportage". He became a member of the union of proletarian russian photographers (ROPF), a rival group of the other "October" founded by Aleksander Rodtchenko. Shaikhet favored a rigorous journalistic point of vue and his work was very sensitive to sociological problems. His images were at the frontier of documentary and artistic photography. In 1931 with two of his friends, M. Alpert and Sergueï Toules and also the editor in chief Mezhericher, he took 80 pictures in four days and called his series "24 hours in the life of the family Filippov, steelworker in the red proletarian factory of Moscow" These documents were published in the German magazine "Arbeiter Illustrierte Zeitung (A.I.Z.) and then in the Russian magazine "USSR in Construction". They had a huge international impact. In 1928 Shaikhet presented 30 images at the big exhibition "Ten years of Soviet photography" and won the first prize. In 1930 he helped Russian photojournalists show their work at the Camera Club in London. During the 30s he took a lot of images of the economical and social changes happening in his country. He followed the Turkestan–Siberian railway, that connects Central Asia and Siberia but also the first cars and tractors. He was a war reporter during World War II for the newspaper Frontavaïa Illioustratsia.
Laurent Dequick
Laurent Dequick is a professional architect in his forties. His photographic work has been influenced by architecture, since it is primarily focused on ideas surrounding the contemporary city and more specifically, urban sprawl. The photographer’s message is to accurately convey the impression of freneticism stemming from population density and activity in urban zones: “As you walk down the street, the lights, noises, traffic, hustle and bustle, and mix of smells are so striking that no single shot could capture all of it. So do we have to make choices? I don’t think so and I don’t want to.” To convey in images this “congestion” of urban life, Laurent Dequick does not hesitate to juxtapose, superimpose, or imbricate his shots. He fits together photographs representing architectural complexes, highways, and people, all with the same intensity. He condenses the images like the city condenses the sum of the lives of all of its inhabitants. His style is reminiscent of cubism in its rendering, which verges on abstraction in its representation of constant motion. Source: Yellow Korner The passing of time is a fascinating concept which happens all around us, at every single moment of every single day. French photographer Laurent Dequick decided to capture these fleeting seconds in a series of photographs entitled Vibrations Urbaines. Each image is a collective sequence of multiple photographs, superimposed together to visually reflect the chaos and congestion of large urban areas. The series features colorful and energetic portraits of both New York and Berlin. Viewers might feel a bit hyper as they view the still photograph which so strongly convey the motion of cars zipping past and the life of people rushing by. Dequick says his work is “primarily a reflection on the contemporary city and more specifically the proliferation of modern urban space.” Through these compositions, the artist portrays the constant urban action and excitement that are generally challenging to communicate through just one still photograph. Source: My Modern Met
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Latest Interviews

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