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Alessandro Chiarini
Alessandro Chiarini
Alessandro Chiarini

Alessandro Chiarini

Country: Italy
Birth: 1965

I have always been passionate about art in all its forms, painting, sculpture, photography, architecture, music. I trained as a professional photographer right from the start, over the years I have reinvented myself several times, touching various fields of photography, but those that have always interested me most are FINE ART, architecture, the human figure and portrait.

I have participated in some exhibitions, including Photokina 2004 in Cologne and Festival della Creatività 2007 in Florence, I have won national and international photographic competitions such as the "Polaroid International Award 2004" obtaining first place in the "Fine art" section for Europe-Africa and second place overall.

Among my most important clients of yesterday and today: Bulgari gioielli, Emilio Pucci, Computer Discount, U.S. POLO ASSN, Hugo Boss Bimbo, Pam Panorama, Le Run MTB, La Nouvelle Bague gioielli, New York University, Mondadori editore, APT Pisa, Toscana Promozione, Giunti editore, Roller team camper, Teatro Verdi Firenze, Teatro della Pergola Firenze, Museo Horne Firenze, Sandro Chia scultore, Remo Salvadori scultore, Bonechi editore.

Websites

www.alessandrochiariniphotography.com

@alessandrochiariniphotography

 

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Betina La Plante
Betina La Plante
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Betina La Plante is an independent portrait photographer who mainly shoots for editorial and personal projects. Born and raised in Buenos Aires, Argentina, La Plante began her career in film and television production, before focusing on photography in 2009. She now divides her time between Los Angeles, California, Europe and Argentina, working on assignments for different clients in the editorial field, as well as private commissions. Her work has garnered international acclaim, and has become known for her soulful and emotional portrayal of her subjects. Recently she has also returned to the film industry as on set stills photographer. She has been published in numerous international fashion, editorial and fine art publications.
Sid Avery
Sid Avery
United States
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Sid Avery (October 12, 1918 – July 1, 2002) was an American photographer and director who was best known for capturing the private moments of legendary Hollywood celebrities like Elizabeth Taylor, Rock Hudson, James Dean, Marlon Brando, Humphrey Bogart and Audrey Hepburn as showcased in his book Hollywood at Home. Avery was born in Akron, Ohio on October 12, 1918. He was only nine months old when they decided to move out to Los Angeles, California, which is where he grew up. Sid Avery received his high school education at the institution of Roosevelt High School. He discovered his love and talent of photography when he was young due to the fact that he was able to work with his uncle, Max Tatch, who was a landscape and architectural photographer. His uncle was able to teach him the skills required to use cameras, film, and darkrooms. After he graduated from high school, Sid Avery worked in a camera store on Sunset Boulevard, Hollywood where he further gained love and inspiration for photography. While working in the shop, he had opportunities to meet many famous photographers. This also encouraged him to take more photography classes. He also gained the experience of being a darkroom assistant. He served in the Army in World War II. When he returned from the war, he began his work of photographing celebrities. Sid Avery eventually became one of the top advertising photographers in Los Angeles. He was also a director of television commercials. Sid Avery was married to Diana Avery. Together they had three children named Sandra Guttman, Marc Avery, and Ron Avery. Sid Avery also had three grandchildren. He founded the Hollywood Photographer's Archive (HPA) and which is known today as mptvimages.com in an effort to preserve the work of the early Hollywood photographers. Sid Avery's work was commonly featured in publications such as Life, Look, Colliers and The Saturday Evening Post. There is a collection of his work, Hollywood at Home: A Family Album 1950-1965, that was published by Crown in the year of 1990. He is most famous for his work of photography that captured the home life of famous celebrities at the time. He captured the celebrities in their own element aside from the glamour of fame. Sid Avery died at the age of 83 on July 1, 2002, in Los Angeles, California.Source: Wikipedia One of six children, Sid Avery was born in 1918 in Ohio and moved to Los Angeles at a young age. Avery repaired a broken brownie box camera that he had found, and with the tutelage of his architectural photographer uncle he began to learn the basics of the photographic profession. By the time he entered Roosevelt High School, Avery’s talent in photography won him numerous prizes and after graduation he landed a job at Morgan’s Camera store on Sunset Boulevard. Avery was pursuing various odd photography jobs when World War II intervened. He was drafted into the Army, assigned to the Signal Corps, and selected to receive six months of training at Life magazine in New York before being sent overseas. Avery was stationed in London and was placed in charge of the Army Pictorial Service Laboratory, where all the stills and combat footage that came out of the European Theater of Operations passed through his hands. This included the detailed, highly classified photomontages of the French coast which were produced for the Normandy invasion. In order to handle this special material, Avery was granted an immediate commission by General Eisenhower himself. Photojournalism publications proliferated during the post-war years, and interest in film stars and their private lives grew to an all time high. During the 1950’s and early 1960’s, Avery photographed screen legends such as Humphrey Bogart, Lauren Bacall, Clark Gable, James Dean, Marlon Brando, James Stewart, and Alfred Hitchcock. His photographic essays appeared in the pages of The Saturday Evening Post, Look, Photoplay, Collier’s, Reader’s Digest, and many others. Avery’s characteristically low key, unobtrusive manner struck a sympathetic chord with reclusive and difficult personalities like Humphrey Bogart, who generally refused to be photographed. Bogart would eventually allow himself to be photographed by Avery with his pregnant wife Lauren Bacall and his son Stephen at their home. Sid Avery photographs have been exhibited and have been included in the permanent collections of the Museum of Modern Art in New York and San Francisco, the International Center of Photography in New York, the Smithsonian Institute in Washington, D.C., and the Los Angeles County Museum of Art in California.Source: Wikipedia
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Aude Delannoy Dib
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Aude Delannoy Dib is a French visual and emotional recorder. She started exploring photography in 2010 when painting, a time consuming and mess generator passion, became unmanageable with three children. Street photography practice coincided with her move to the UAE in 2016. It provided both an escape from the bustle of her crowded home and an opportunity to explore her new environment. Since then, she has been capturing the unglamorous side of the ever changing landscapes of the UAE's cities, its daily rhythms and the rich diversity of its communities. Statement Aude sees photography as a powerful yet simple medium for evoking emotions and sparking reflections. She finds beauty in the overlooked details and chaos, creating carefully crafted multilayered compositions that play with colours, geometry, sharp shadows and lights. For her, these elements form the emotional essence of a place.
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Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
 However, Kerstens was not just imitating painting. As the series progressed, he became increasingly interested in the game of creating a conceptual and humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a thoroughly modern hoodie into a classic and timeless garment. Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday reality while expressing his love for his child, and the knowledge and development of his craft.Source: Danziger Gallery Hendrik Kerstens' (1956) oeuvre consists of a consequent sequence of portraits from his muse, his daughter, each time with a different angle, meaning or purpose. In the hemisphere of the radically realist paintings of the Dutch Golden Age, Kerstens explores the photograph as a surface, a platform to study contemporary ordinary objects and its meaning in historical tradition. With his typical selection for down-to-earth forms of headwear, from a napkin, a wet towel, spheres of lace to folded aluminium foil, he recalls how daily life has always been an integral subject of art, whether in the 17th or in 21st century. With his clear ambition to illustrate the dialogue between history and contemporary life, rich and sober, functional and valuable, Kerstens also accomplishes to renew and contemporize history while boosting the position and function of day-to-day objects. In connecting todays photography techniques with the camera obscura techniques in earlier times, Kerstens raises awareness for the use and development of the photographic process. It is not accidental that he is a state-of-the-art perfectionist, taking nothing for granted and giving a lot of attention to the work process. The printing proces itself, the hardly visible transition of the many dark tones, the interplay of light and shadow, Kerstens dedicates himself completely in refining the image, where details and the way of looking play a key role. Kerstens, who worked many times with Kathy Ryan from The New York Times Magazine, was awarded the PANL award (2001) in the Netherlands; the Taylor Wesing Photographic Portrait Prize (2008) at the National Portrait Gallery in London, the silver LeadAward Medaillon, Porträtfotografie des Jahres (2010) in Germany and the 11th Lucie Award (2013). Kerstens work and ideas were included in Alexander McQueen's spectacular show The Horn of Plenty: Everyting but the Kitchen Sink, a retrospective on 15 shocking years in fashion.Source: Flatland Gallery Galleries:   Danziger Gallery   Jenkins Johnson Gallery   Dean Project   Flatland Gallery
Matthew Finley
Matthew Finley
United States
1972
Matthew Finley uses his photography to express himself and connect to the world around him. With a variety of photography processes, he explores intimate emotions through gesture, line and performance to communicate his experience. Growing up queer in an unaccepting environment, Finley felt apart from the world around him. Now, as an adult working through social anxiety, the studio is a safe space to create where he can be vulnerable and express his true self. Creating and exhibiting his work is a way to forge relationships with viewers and help those who see themselves reflected in it to feel less alone. Finding inspiration in nature, classic art and found photographs, he address-es modern issues such as his coming out story, intimate relationships, and finding peace in our tumultuous world. Based in Los Angeles, Finley’s work has shown in solo and group shows in multiple galleries across the U.S. Most recently, his work was on the walls of the esteemed Fahey/Klein Gallery in Los Angeles with the likes of Herb Ritts and Herbert List. Other works have circled the globe as part of the FOTOFILMIC 17 traveling show and he has pieces in the permanent col-lections of the Museum of Contemporary Photography, Columbia College Chicago, The Museum of Art and History, Lancaster, and the Center for Fine Art Photography. His images have also appeared in publications including Oxford American, Shots Magazine, and Plates to Pixels where he won the Juror Award in The Visual Armistice 10th Annual Juried Showcase. Finley’s most current project An Impossibly Normal Life recently received Center Santa Fe’s 2024 Personal Award as well as the Center for Photographic Art’s 2024 LGBTQ+ Artist Grant. Article Exclusive Interview
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Latest Interviews

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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Josh S. Rose
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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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