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Ebru Sidar
Ebru Sidar
Ebru Sidar

Ebru Sidar

Country: Turkey
Birth: 1975

Ebru Sidar was born on 13 January 1975 in Trabzon. Since her parents were bankers, she traveled to many cities in Turkey and then moved to Ankara. She is now living between France and Turkey. She graduated from Ankara University as a Geology Engineer.

She thinks that all types of art affect and are connected to each other. Capturing “the good” in thoughts and the physical world, she believes that any work on which someone focuses mentally, emotionally and physically is meant to be good.

Considering photography as a common property and language of humanity, she believes that it should always promote and contribute to sustainable peace. She has been actively working on photography since February 2005. While continuously developing her skills and knowledge, she never wants to give up her amateur spirit.
 

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More Great Photographers To Discover

Ernie Luppi
United States
1954
San Francisco native Ernie Luppi became involved with photography in 1973 when he started using his mother's Instamatic 126 camera that he and his brothers had given to her as a Christmas gift the previous year. During this time, Ernie was attending the City College of San Francisco and decided to switch his major to photography. The CCSF Photography Department offered one of the finest programs in the area and it helped Ernie unearth the creativity within him. To this day, Ernie is an avid black and white film and darkroom enthusiast. In 1975, Ernie graduated from CCSF with an Associate of Science degree in Photography and has spent the past 39 years in retail photography sales, first working at Adolph Gasser, Inc. for 23 years, followed by 16 years at Keeble and Shuchat in their respective film and darkroom supply departments. Ernie's photographic vision is varied. It ranges from travel, portraiture, street, and the urban landscape. Ernie has often quoted, “I am a jack of all trades and a master of none,” but really he is just curious about everything that he sees through his camera lens. An association with RayKo Photo Center was established in June of 1992 when Ernie had a solo exhibition of photographs, all of them gelatin silver prints, that he had taken during trips to Italy in 1981 and 1991. For the past decade, with the guidance of gallery director Ann Jastrab, Ernie has been a member of RayKo's Photographers Marketplace. Ernie's images have also been selected for RayKo exhibitions such as the documentary show "With Our Own Eyes", "The Perimeter of the World: Contemporary Travel Photography", as well as several Plastic Camera Show exhibits. He continues to photograph daily and can usually be found in his darkroom.
Edward Steichen
United States
1879 | † 1973
Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
Manfred Baumann
Austria
1968
Manfred Baumann was born in Vienna in 1968. The Leica photographer has since presented his works worldwide in the form of exhibitions, books, and calendars. His photographs are displayed in museums as well as in international galleries. Over the past years, Baumann has taken his place among the most influential photographers of our time. Via social media his range is more than 1 million! He lives and works in Europe and the USA, and has already photographed such greats as Kirk Douglas, Sandra Bullock, Olivia Newton John, Martin Sheen, Don Johnson, Danny Trejo, William Shatner, Jack Black, Natalie Portman, Tony Curtis, Paul Anka, Lionel Richie, Kathleen Turner, John Malkovich, Bruce Willis, Juliette Lewis, Angelina Jolie, Toni Garrn, Michelle Rodriguez, Leah Remini, Evander Holyfield, as well as many international top models. For Manfred Baumann, the fascination of photography lies in departing from the familiar and capturing an impression of the moment. He loves to explore the world through the eyes of a photographer. To make visible that which others have not seen has been the objective of Baumann's exhibitions, such as END OF LINE, in which he documented the final journey of death row inmates in Texas; ALIVE, where he photographed homeless persons on the street for one year; and his current project SPECIAL, which showcases Baumann's portraits of intellectually disabled persons. His ambition is to break with tradition and the conventional perspective. The viewer of my photographs should discover the soul and history they embody and recognize that photography is the only language that can be understood all over the world. As an ardent animal welfare activist, vegetarian, and goodwill ambassador for Jane Goodall, he also ventured into the world of animal photography for the first time with the project MUSTANGS. The project's works and exhibition were shown in the Natural History Museum Vienna and the Leica Gallery in Los Angeles He teaches for the Leica Academy worldwide and doing worldwide Lecture & workshops Manfred Baumann was 2017 Testimonial for Huawei international alongside with Robert Lewandowski. His Book and exhibition VIENNA were shown at the Grand Hotel Vienna. From February 2019 to May 2019, Baumann exhibited for the first time in Australia (in Melbourne and Sydney). In 2020 two new books will appear, the "Lipizzaner" the white horses and a Best of book with the name "a photographer's life". It is the 15 and 16 illustrated books which have been published worldwide. Among Manfreds role models are great Master of Photography such as Alfred Eisenstaedt, Helmut Newton, Henri Cartier-Bresson, Richard Avedon, Herb Ritts, and Ansel Adams. Manfred Baumann also photographed the late Tony Curtis. This was the Hollywood star's last official photo shoot and did much to bolster Baumann's considerable fame in the USA. For more than 25 years, Manfred has been drawn to the most distant places in the world, where his breathtaking landscape photographs are created, and it is only natural that since 2013, he has cooperated with and photographed for National Geographic. He lives and works in Vienna with his wife and muse Nelly Baumann, although his sojourns to his second home, Los Angeles, have become increasingly frequent and of longer duration. His clientele, however, come from all over the world. Statement "I GIVE THE MOMENT DURATION" "Photographs are like songs that you sing into the world." "HEART AND MIND – THE TRUE LENS OF THE CAMERA" "The truth is the best picture!"
Flor Garduño
Mexico
1957
Flor Garduño was born in Mexico and studied visual arts at the Academy of San Carlos (UNAM), where she focused on the search for the structural aspects of form and space. She became especially interested in the work of Kati Horna, a Hungarian photographer whose communicative dimension of her photographs had a great impact on the development of Garduño's aesthetic. She gave up her studies to work as a darkroom assistant for Manuel Álvarez Bravo, one of Mexico's most prestigious photographers, with whom she strengthened her photographic skills. Since then, Garduño has received numerable prizes, and her work has been exposed and published around the world. Garduño's photos depict the landscapes of Central and South America -- and the people whose ancestors were indigenous to the region. Her photos depict subjects that could have existed in a time long before the present moment, and through photographing them, brings the Indian land of America to the present moment. She addresses time -- past, present, and future -- simultaneously through her photographs. Through her photos we witness the slow procession from life to death, interrupted by comic accidents, childish play, liturgical ceremonies, and erotic repose. Though many themes traverse Garduño's body of work, all ultimately reach the point of incense where, uncertainly, nature, and art blend so that mankind may have a margin of whimsy, freedom, or significance on the face of the gods.Source: Peter Fetterman Gallery Flor Garduño (Born Mexico City, Mexico, 1957) studied at the Escuela Nacional de Artes Plásticas in Mexico City.  In 1979 she became an assistant to Manuel Alvarez Bravo. Between 1981 and 1982 she traveled with a team of photographers organized by Mariana Yampolsky. The team photographed rural villages throughout Mexico for reading primers published by the Secretariat of Education for Indigenous Communities.  This experience as well as her association with Kati Horn influenced Garduño's photographs, which are usually of country locales and towns depicted in strange and mysterious ways typical of Surrealism in Mexican photography.  Garduño had her first one-person exhibition in 1982 at the Galeria Jose Clemente Orozco in Mexico City.  In 1985, a compendium of six years of her work was published entitled "Magia del Juego Eterno" and in 1987 another book entitled "Bestiarium" was published.  In 1986 she participated in the first photographic exhibition of the Salón de la Plástica Mexicana and in the inauguration of the Kahlo-Coronel Gallery in Mexico City. In 1986 and 1988 she was included in several traveling exhibitions "Reserved for Export" and "Realidades Mágicas" that were seen in the United States and Europe.  1996 Image and Memory, Latin american Photography, 1880-1992  Itinerary: El Museo del Barrio, New York.  Art Gallery of the University of Scranton, PA.  Lowe Art Museum, Florida.  Museo de Arte de Ponce, Puerto Rico.  Crocker Art Museum, CA.  Meadows Museum, Tx.  Akron Art Museum, OH. Her one-person shows were in Paris in 1986, the Museum Volkenkunde de Rotterdam in 1989, the Field Museum of Chicago in 1990 and Montreal in 1991.  Since 1989 she has dedicated herself to photographing the images that appear in her one-person exhibition and monograph, "Witnesses of Time".  The exhibition started at the Americas Society in 1993 and will be traveling across the country to the Museum of Photographic Arts in California as well as various other venues.  Her work is in the collections of the Museum of Modern Art, New York; Bibliotheque Nationale, Paris; and Centro Cultural de Arte Contemporáneo, Mexico.Source: Throckmorton Fine Art Galleries in the USA:   Peter Fetterman Gallery   Throckmorton Fine Art   Fahey/Klein Gallery   Holden Luntz Gallery   Etherton Gallery   Andrew Smith Gallery
Olivia Milani
Switzerland
1984
Artist and photographer Olivia Milani has been captivated by images and the power of visual language since she can remember. Olivia studied photography at Central Saint Martins in London, graduating with a Postgraduate degree in Photography. Through her curious, inquisitive and lyrical looking, she creates subtle, open narratives that usually develop into long term projects. Travel is an important source of inspiration for her work. As much as representing outer places or destinations, her dreamlike images conjure inner landscapes suggestive of internal states and the fluidity of emotions. Partly constructed, partly simply observed or gathered as they happen in the moment, her images are often situations encountered by chance which she then invests with symbolism, mythological and literary references. Her work has been exhibited internationally and she has enjoyed collaborations with many gifted artists. Growing up in the context of a multicultural background in the Italian speaking region of Switzerland, she lives and works in London, England and feels at home in the world. Olivia sees photography as a tool for outer and inner exploration and discovery. Approaching her work with serious playfulness, she likes to let its meaning unfold. Eastern Winds Eastern Winds is about a journey of tracing my roots and reconnecting the fragmented aspects of my family past. It all started when I opened an old suitcase filled with photographs and letters - the remnants of my grandmother Lydia's life in Russia. The photographs were mainly portraits from 19th and 20th century Russia. Their soulful and enigmatic quality captured me immediately and led me on a voyage, first inner and imaginary, and eventually outer - like following a river back to it's source, I decided to travel to Russia. Starting in Moscow, I crossed the country by land, from West to East, travelling along the Trans-Siberian railway route all the way to Siberia, that to me felt like the far northern edges of the world. As I was travelling through the immense vastness of the endless Russian plains, I was imagining the lives and destinies of my ancestors. A great stillness stretched around me and it felt as if the limitlessness of these landscapes was re-shaping my inner geography, linking me back to the continuum of my ancestral connections. My grandmother Lydia was born in Moscow to a Russian mother and Swiss father. All I know is that during the time of the political turmoil of the Russian Revolution her family got torn apart and she had to flee Russia over night. She was 20 and travelled to Switzerland on a cargo train with one sister. She never saw her family and homeland again. These images are a way of weaving back together the broken threads of my family history - a tapestry composed of lost and found family photographs, untold stories and memories half vanished through time. An act of remembrance and a way of reappropriating my family history and transnational heritage. Blending the pictures I took during the journey with the photographs of my ancestors is an attempt of linking past and present together, one family member to another, one generation to another. Reconnecting to the ancestors returns us to the river of life that flows from the past into the present moment to nourish us.
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