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Martin Munkácsi
Martin Munkácsi

Martin Munkácsi

Country: Hungary
Birth: 1896 | Death: 1963

Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City.

Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety.

That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above.

On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops.

Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire.

Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.

Source: Wikipedia

 

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Nicola Perscheid
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Stephan Vanfleteren
Stephan Vanfleteren studied photography at Lucas Institute in Brussels (1988-1992). From 1993 to 2009, he worked as a free-lance photographer for the Belgian Journal De Morgen and always worked and invested in his own personal projects. Actually, Stephan works for museums, he's publishing his portraits in foreign journals and several foreign magazines. He's cofounder of Hannibal Publishing and Cannibal Publishing. Stephan Vanfleteren is art-director for the two publishing houses. PRICES 1996 - World Press Photo Award - Sports, third prize stories - Boxing in Cuba 1997 - World Press Photo Award - Daily Life, first prize stories - Aids, Kenia 1998 - European Fuji Awards 2000 - World Press Photo Award - Arts and Entertainment, third prize stories, Elvis & Presley 2001 - World Press Photo Award - Children's Award, prize singles - Afghanistan 2001 - European Fuji Award 2007 - Nikon Press Photo Award 2009 - Louis Paul Boon award - Belgium 2010 - Lead Awards: 'Portätfotografie des Jahres', Germany 2011 - Henri Nannen Price, Germany - Tomi Ungerer 2012 - Vijfjaarlijkse Cultuurprijs voor de Provincie West-Vlaanderen 2012 - National Portrait price of the Netherlands - Rem Koolhaas, Dutch architect 2013 - World Press Photo Award - Staged Portraits, first prize stories, People of Mercy 2019 - Henri Nannen Price, Germany - Angels of the Sea - Mare Publication. BOOKS 1999 - Elvis&Presley, with photographer Robert Huber (Switserland) 2000 - Buren, with Mark Power & Eva Leitolf 2003 - Tales from a Globalizing World 2005 - Flandrien - Cannibal Publishing 2007 - Belgicum - Hannibal Publishing 2009 - Portret 1989-2009 - Lannoo 2012 - En avant, marche! - Hannibal Publishing 2013 - Façades & Vitrines (Limited edition 666 exp) - Hannibal Publishing 2014 - MMXIV - De Red Devils - Cannibal Publishing 2014 - Atlantic Wall - Hannibal Publishing 2015 - Charleroi, il est clair que le gris est noir - Hannibal Publishing 2018 - SURF TRIBE - Hannibal Publishing 2019 - PRESENT - Hannibal Publishing 2019 - ONUITGESPROKEN - Hannibal Publishing About PRESENT Stephan Vanfleteren is mainly known to the general public for his penetrating black & white portrait photography, but over the past decades his work has ranged to documentary, artistic and personal pictures. From street photography in world cities like New York to the genocide of Ruanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits. The iconic images sit side by side with unknown treasures in this heavy tome containing no less than 505 photographs. In the very personal accompanying text, Vanfleteren reflects on how his own work and the photography genre as a whole have evolved in recent decades. You get a close-up look at his intriguing career from the very beginning, when he travelled the world with an appetite for action. He also photographed his home country: all of the headline news stories of the 1990s appeared before his lens. Around the Millennium, Vanfleteren started to focus on that which is disappearing. With painstaking attention to nuance he created a visual archive of his homeland and of his fellow Belgians, in his own inimitable style. In the last few years Vanfleteren has brought the world inside, to his daylight studio, resulting in many encounters and portraits. This book includes two new series – not previously published – which were born in the intimacy of his studio: an exploration of the still life and a study of nude photography, both in colour. Present is an impressive overview of Vanfleteren's oeuvre that provides a complete picture of him as a photographer, an artist, and above all a human being who faces life with empathy, wonder, and curiosity. More about PRESENT
Takuma Nakahira
Japan
1938 | † 2015
Takuma Nakahira was a Japanese photographer, critic, and theorist. He was a member of the seminal photography collective Provoke, played a central role in developing the theorization of landscape discourse, and was one of the most prominent voices in 1970s Japanese photography. Born in Tokyo, Nakahira attended the Tokyo University of Foreign Studies, from which he graduated in 1963 with a degree in Spanish. After graduation, he began working as an editor at the art magazine Contemporary View (Gendai no me), during which time he published his work under the pseudonym of Akira Yuzuki. Two years later, he left the magazine in order to help organize the major 1968 exhibition One Hundred Years of Photography: The History of Japanese Photographic Expression at the invitation of Shōmei Tōmatsu, an effort to which photo critic Kōji Taki also contributed. In 1968, he and Taki teamed up with photographer Yutaka Takanashi, and critic Takahiko Okada, to found the magazine Provoke: Provocative documents for the sake of thought. By the second issue, Daidō Moriyama had joined the group, but Provoke ceased publication with its third issue, First discard the world of pseudo certainty: the thinking behind photography and language, in March 1970. Nakahira and the other Provoke members were well known for what was termed their "are, bure, boke" (rough, blurry, and out of focus) style, associated with spontaneity and thus supposedly a more direct confrontation with reality in that it would circumvent conscious control. While working on Provoke, Nakahira published his first photobook, For a Language to Come, which has been described as "a masterpiece of reductionism." Ryūichi Kaneko and Ivan Vartanian feature the book prominently in their book on seminal Japanese photobooks of the 1960s and 70s, and Martin Parr and Gerry Badger include it in the first volume of their international photobook history. Vartanian describes the volume as exemplary of Provoke's vision and concept of photography in Nakahira's use of the are, bure, boke style, but also for presenting full-bleed snapshots of anonymous corners of Tokyo that either cross over or abut each other at the book's gutter. Vartanian argues that "By erasing the conventional functionality of the photograph as document, memory, verification, emotion, and narrative, he revealed the illusory nature of photography as a conduit of information or portrayal of reality, while at the same time underscoring the only tangible reality available to the viewer—the printed image," eschewing documentation of social issues to instead present a personal, diaristic perspective. In 1977, at the age of 39, Nakahira suffered alcohol poisoning and fell into a coma. As a result of this trauma, he suffered permanent memory loss and aphasia, effectively ending his prolific writings. This event has also conventionally been understood as marking a change in his photographic practice since, after a hiatus from his image-making activities, he returned to the medium in a style quite distinct from that for which he was known. Curator and photo critic Kuraishi Shino and Masuda, however, argue that in spite of any stylistic differences with his earlier work, Nakahira's post-1977 practice should be understood as a conceptual continuation of the project he embarked on in 1973 with Why an Illustrated Botanical Dictionary. Nakahira's post-1977 photographs were collected in three photobooks: A New Gaze (1983), Adieu à X (1989), and Hysteric Six Nakahira Takuma (2002). While Nakahira was always an important figure within Japanese photographic circles, the upsurge in research and exhibitions on post-WWII Japanese photography since the 2000s has led to a reevaluation of Nakahira's contributions to Japanese photographic, media, and art discourses in recent years, especially outside of Japan. His work has been included in recent seminal exhibitions of Japanese post-WWII art including the Getty Research Institute's Art, Anti-Art, Non-Art: Experimentation in the Public Sphere in Postwar Japan, 1950-1970 (2007), the Museum of Modern Art's Tokyo: 1955-1970 (2012), the Museum of Fine Arts Houston's For a New World to Come: Experiments in Japanese Art and Photography 1968–1979 (2015), National Museum of Modern Art, Tokyo's Things: Rethinking Japanese Photography and Art in the 1970s (2015), and the Art Institute of Chicago's Provoke: Photography in Japan between Protest and Performance, 1960-1975 (2017).Source: Wikipedia
Jaime  Nisenbaum
United States
1959
I am an experimental photographer based in Berkeley, California. The camera has been a faithful companion throughout my life; however, over the past 20 years, my photography slowly began shifting from documenting life to being a more intentional form of self-expression. The wide expanses of the California coast, its rugged terrain, wide vistas, and thunderous waves were my first entry point into that process. Concurrently, I was discovering and getting inspired by Edward Weston, Ansel Adams, Minor White, Ann Brigman, and several other pioneers whose work celebrated and exalted the natural environment. The quiet and intimate botanical images by Imogen Cunningham, the simplicity of Harry Callaham's nature shots, along with the moody atmosphere of the early 20th-century Pictorialists like Edward Steichen, Alfred Stieglitz, and Gertrude Kasebier, have also found their way into how I think and imagine photography. The textural and sculptural properties of natural elements are a main source and inspiration for my photography. I like to think of my images as inhabiting a world between the representational and the abstract, revealing the hidden beauty and simplicity of natural forms while evoking a sense of reverence and wonderment. My photographs have won awards through the Marin County Society of Artists (CA) and Louisville Art Association National Photography Show (CO), and have been exhibited at the A.Smith Gallery (TX), Arts Square Gallery (NY), Black Box Gallery (OR), d’Art Center in Norfolk (VA), Praxis Gallery (MN), Si Gallery in Austin (TX).
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