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Sylwia Makris
Sylwia Makris
Sylwia Makris

Sylwia Makris

Country: Poland
Birth: 1973

There is a spark within everything. A living light in the eyes of a person, a memory that flares up, the glow of a passion that was never declared. A face always tells more than it knows, wich is why photography is never a mere reproduction of what is. A good photo tells what was, why might have been or what is waiting painfully beneath the surface.

Sylwia Makris has been in pursuit of these sparks since she first held a camera. Her quest produces images that may delight or disturb but always move the beholder. She photographs people. People who are strong or delicate, broken or dynamic. She photographs faces of our time-and in doing so gives a face to our time. Nakedness is the most natural state. And in our day the most intrusive and common-every-where naked bodies are used to tempt, advertise and sell. Nakedness can only say as much as it is allowed to say. Sylwia Makris respects the nude body as part of a story that must be told. As part of a story that tels of people, nakedness regains its original magic, its archaic power and its complexity of expression in Makris' photos.

Until the viewer sometimes feels more naked than the model in the image. Sylwia Makris was born in 1973 in Gdynia, Poland. She worked as a sculptor before finding her way to photography in 2007. Today she lives in Munich as freelance photographer.

Websites

sylwiamakris.com

@sylwiamakris

 

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Nadar
Nadar
France
1820 | † 1910
Nadar was the pseudonym of Gaspard-Félix Tournachon. Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. On his visit to Brussels with the Géant, on 26 September 1864, Nadar erected mobile barriers to keep the crowd at a safe distance. Up to this day, crowd control barriers are known in Belgium as Nadar barriers. In April 1874, he lent his photo studio to a group of painters, thus making the first exhibition of the Impressionists possible. He photographed Victor Hugo on his death-bed in 1885. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles (France). Nadar died in 1910, aged 89. He was buried in Père Lachaise Cemetery in Paris. Source: Wikipedia
Marie-Laure Vareilles
Marie-Laure Vareilles
France
1966
- Testify to the variety of cultures on our planet.Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILOAll about Marie Laure Vareilles:AAP: When did you realize you wanted to be a photographer?It was not my dream.AAP:Do you have a mentor?I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.AAP: How long have you been a photographer?I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.AAP: What or who inspires you? Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.AAP: How could you describe your style?I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.AAP: What kind of gear do you use? Camera, lens, digital, film?Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.AAP: Do you spend a lot of time editing your images?Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !AAP: Favorite(s) photographer(s)?They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.AAP: Your best memory has a photographer?I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!AAP: Your worst souvenir has a photographer?I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.
Doran Bastin
Doran Bastin
United States
With a long, accomplished career in music, Doran Bastin is most recently furthering his creative explorations through photography - a medium that continues to keep pace alongside music, facing with similar strengths, challenges, and opportunities. Known for his black and white urban landscapes Doran approaches the medium and his subjects with a keen, compassionate eye; finding intimate moments in some of the most unlikely places. Inspired by luminaries such as Lee Friedlander and Garry Winogrand, his photographs capture humanity, growth, and change in the Pacific Northwest, specifically in Seattle, Washington and Portland, Oregon where he divides his time. His recent work has been featured in Photographic Center Northwest's Long Shot exhibition, Daylighted, awarded third place in the 2016 Collective Visions Gallery annual exhibition, and Jurors Merit Award in the International All About Photo 2017 Awards. Doran is a scrum master by day, a musician by night, and a photographer at heart.
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Matthew O'Brien
United States
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Lise Leino
Lise Leino
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Lise Leino is a London-based Finnish photographer known for her compelling photojournalism and portraiture that highlights the richness of diverse cultures through the lens of human stories. With a background in television/film production and drama studies, Lise has developed a keen eye for visual storytelling, which she further refined at the New York Institute of Photography. Her work has garnered accolades, including the Portrait of Britain award Vol. 7. Lise is deeply interested in learning from indigenous tribes, as their views on ownership and connection to nature challenge conventional ideas and emphasize a sacred understanding of the natural world. This insight inspires her to explore themes of cultural identity and the interconnectedness of all living things while learning to live in awareness. Through her powerful visual narratives, she aims to bridge cultural gaps, highlighting the beauty and complexity of human experiences, inviting viewers to reflect on their own relationship with the world.
Sudabe Vatanparast
Sudabe Vatanparast
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Evan Anderman
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Alexey Brodovitch
United States
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Alexey Brodovitch was a Russian-born American designer and photographer, known for his time as the art director of Harper’s Bazaar from 1934 to 1958. Brodovitch was born in Ogolichi, Оголичи Aholičy, Russian Empire (now Belarus) to a wealthy Polish family in 1898. His father, Cheslau or Vyacheslav Brodovitch, was a respected physician, psychiatrist and huntsman. His mother was an amateur painter. During the Russo-Japanese War, his family moved to Moscow, where his father worked in a hospital for Japanese prisoners. Alexey was sent to study at the Prince Tenisheff School, a prestigious institution in Saint Petersburg, with the intentions of eventually enrolling in the Imperial Art Academy. He had no formal training in art through his childhood, but often sketched noble profiles in the audience at concerts in the city. At the start of World War I at the young age of 16, Brodovitch abandoned his dream of entering the Imperial Art Academy and ran away from home to join the Russian army. Not long after, his father had him brought home and hired a private tutor to help Alexey finish school. Upon graduating, Brodovitch ran away again on several occasions. During the Russian Civil War, Brodovitch served with the White Army. While fighting against the Bolsheviks in Odessa, he was badly wounded and was hospitalized for a time in Kislovodsk, in the Caucasus. In 1918, the town was surrounded by the Bolsheviks, forcing Brodovitch into exile. It was during this retreat to the south through Caucasus and Turkey that he met his future wife, Nina. By good fortune, Alexey's brother Nicolas turned out to be one of the soldiers guarding the refugees in Novorossiysk. Not long after, their father, who had been imprisoned in Saint Petersburg by the Bolsheviks, managed to flee to Novorossiysk in hopes of finding his family. The three were once again together, and arranged for Brodovitch's mother and other relations to join them in Constantinople. Finally reunited, the Brodovitchs made their way to France. In Paris, he lived in poverty amidst the vibrant avant-garde scene of the era, working as a backdrop painter for Serge Diaghilev’s Ballets Russes. Brodovitch embraced technical developments from the spheres of industrial design, photography, and contemporary painting. His broad curiosity began to assimilate the most interesting aspects of all these fields into his work, eventually making them his own. He later instilled this same curiosity in his students, encouraging them to use new techniques like the airbrush, industrial lacquers, flexible steel needles, and surgical knives. By the age of 32, Brodovitch had dabbled in producing posters, china, jewelry, textiles, advertisements, and paintings. Eventually specializing in advertising and graphic design, he had become one of the most respected designers of commercial art in Paris. By 1930, however, Paris had lost its luster for Brodovitch. The once-flourishing spirit of adventure and experimentation was fading away. Although he was offered many design positions, Brodovitch turned them down, presumably looking for new locales to advance his designs. Brodovitch moved to the United States, accepting a post as a professor of advertising in Philadelphia. Only four years later, he was hired as the art director of Harper's Bazaar. During his tenure there, he fundamentally changed the magazine’s aesthetic, hiring a number of unique photographers to provide editorial content, including Man Ray, Henri Cartier-Bresson, Lisette Model, and Robert Frank. Brodovitch left the magazine in 1958, but continued to teach design until his death on April 15, 1971 in Le Thor, France. Today, his works are held in the collections of the Art Institute of Chicago, Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C.Source: Wikipedia
Philip Jones Griffiths
Philip Jones Griffiths
Wales
1936 | † 2008
Born in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. One of the most detailed surveys of any conflict, Vietnam Inc. is also an in-depth document of Vietnamese culture under attack. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’. Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement. Philip Jones Griffiths died at home in West London on 19th March 2008From en.wikipedia.orgJones Griffiths was born in Rhuddlan, to Joseph Griffiths, who supervised the local trucking service of the London, Midland and Scottish Railway, and Catherine Jones, Rhuddlan's district nurse, who ran a small maternity clinic at home. He studied pharmacy in Liverpool and worked in London as the night manager at the Piccadilly branch of Boots, while also working as a part-time photographer for the Manchester Guardian. His first photograph was of a friend, taken with the family Brownie in a rowboat off Holyhead. Jones Griffiths never married, saying it was a "bourgeois" notion, but that he had had "significant" relationships. Survived by Fanella Ferrato and Katherine Holden, his daughters from long-term relationships with Donna Ferrato and Heather Holden. He died from cancer on March 19, 2008. Journalist John Pilger wrote in tribute to Griffiths soon after his death: "I never met a foreigner who cared as wisely for the Vietnamese, or about ordinary people everywhere under the heel of great power, as Philip Jones Griffiths. He was the greatest photographer and one of the finest journalists of my lifetime, and a humanitarian to match…. His photographs of ordinary people, from his beloved Wales to Vietnam and the shadows of Cambodia, make you realise who the true heroes are. He was one of them." Griffiths started work as a full-time freelance photographer in 1961 for the Observer, travelling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected his view of the war as an episode in the continuing decolonisation of former European possessions. However, he was eventually able to get a scoop that the American outlets liked: photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds from these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. Vietnam Inc. had a major influence on American perceptions of the war, and became a classic of photojournalism. The book was the result of Griffiths' three years work in the country and it stands as one of the most detailed surveys of any conflict, including descriptions of the horrors of the war as well as a study of Vietnamese rural life and views from serving American soldiers. Probably one of its most quoted passages is of a US army source discussing napalm: ‘We sure are pleased with those backroom boys at Dow. The original product wasn’t so hot - if the gooks were quick they could scrape it off. So the boys started adding polystyrene - now it sticks like shit to a blanket. But if the gooks jumped under water it stopped burning, so they started adding Willie Peter (white phosphorus) so’s to make it burn better. And just one drop is enough, it’ll keep on burning right down to the bone so they die anyway from phosphorus poisoning.’ The South Vietnamese president, Nguyen Van Thieu, criticized Griffiths' work, remarking "Let me tell you there are many people I don't want back in my country, but I can assure you Mr. Griffiths name is at the top of the list." In 1973, Griffiths covered the Yom Kippur War. He then worked in Cambodia from 1973 to 1975. In 1980, he became the president of Magnum, a position he then held for five years. In 2001 Vietnam Inc. was reprinted with a foreword by Noam Chomsky. Subsequent books have included Dark Odyssey, a collection of his best pictures, and Agent Orange, dealing with the impact of the US defoliant Agent Orange on postwar generations in Vietnam. After becoming aware of his terminal condition, Jones Griffiths launched a foundation to preserve his archives. His daughters helm the foundation, which as of July 2008 lacked a permanent home. Source: www.magnumphotos.com
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All About Photo Awards 2026
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
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