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Aneta Bartos
Photo by Craig Mcdean
Aneta Bartos
Aneta Bartos

Aneta Bartos

Country: Poland

Aneta Bartos was born in Poland and moved to New York City where she attended The School of Visual Arts. Most recently she was a part of the exhibition Hearst 8X10 at the Alexey Brodovitch Gallery, New York curated by John Bennette. In early 2013 she exhibited her project titled Boys with a solo exhibition at the Carlton Arms Hotel, New York curated by Jon Feinstein. During 2012 she was a part of 31 Women in Art Photography at Hasted Kraeutler, New York curated by Natalia Sacasa and Jon Feinstein. Earlier that year she showed in a two-person exhibition titled Jack & Jill curated by Anne Huntington. The same year she was commissioned by Neville Wakefield to create an installation for the opening of ACME in New York. In 2010 her collaboration 4Sale was shown in New York, Moscow and Poznan. A year earlier, she debuted with a solo show at Artsource, New York. In 2007 she was chosen by Photo District News as their top choice for Emerging Photographers. Additionally, Aneta's work has been featured in New York Magazine, T Magazine, Time Magazine, Artinfo, Modern Painters Daily, W Magazine, Interview Magazine, Hyperalleric and Paddle 8 among others. She is currently working on her first book from her series titled Spider Monkeys.

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More Great Photographers To Discover

George Hoyningen-Huene
George Hoyningen-Huene
United States/France
1900 | † 1968
Baron George Hoyningen-Huene was a seminal fashion photographer of the 1920s and 1930s. He was born in Russia to Baltic German and American parents and spent his working life in France, England, and the United States. Born in Saint Petersburg, Russia, on September 4, 1900, Hoyningen-Huene was the only son of Baron Barthold Theodor Hermann (Theodorevitch) von Hoyningen-Huene (1859-1942), a Baltic nobleman, military officer, and lord of Navesti manor (near Võhma), and his wife, Emily Anne "Nan" Lothrop (1860-1927), a daughter of George Van Ness Lothrop, an American minister to Russia. (The couple was married in Detroit, Michigan, in 1888.) He had two sisters. Helen (died 1976) became a fashion designer in France and the United States, using the name Helen de Huene. Elizabeth (1891-1973), also known as Betty, also became a fashion designer (using the name Mme. Yteb in the 1920s and 1930s) and married, first, Baron Wrangel, and, second, Lt. Col. Charles Norman Buzzard, a British Army officer. During the Russian Revolution, the Hoyningen-Huenes fled to first London, and later Paris. By 1925 George had already worked his way up to chief of photography of the French Vogue. In 1931 he met Horst, the future photographer, who became his lover and frequent model and traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in November of that year. In 1935 Hoyningen-Huene moved to New York City where he did most of his work for Harper's Bazaar. He published two art books on Greece and Egypt before relocating to Hollywood, where he earned his wedge by shooting glamorous portraits for the film industry. Hoyningen-Huene worked in huge studios and with whatever lighting worked best. Beyond fashion, he was a master portraitist as well from Hollywood stars to other celebrities. He also worked in Hollywood in various capacities in the film industry, working closely with George Cukor, notably as a special visual and color consultant for the 1954 Judy Garland movie A Star Is Born. He served a similar role for the 1957 film Les Girls, which starred Kay Kendall and Mitzi Gaynor, the Sophia Loren film Heller in Pink Tights, and The Chapman Report. In 1952 his cousin Baron Ernst Lyssardt von Hoyningen-Huene, whom he had adopted, married Nancy Oakes, the daughter of the gold mining tycoon Sir Harry Oakes. That union lasted until 1956 and produced one son Baron Alexander von Hoyningen-Huene, also known as Sasha. He died at 68 years of age in Los Angeles. Source: Wikipedia
Matthew Hardy-Brown
Matthew Hardy-Brown
South Africa
2000
Matthew Hardy-Brown's artistry unveils the enchanting beauty of our world, reminding us of the untamed wonder that surrounds us. With every click, he captures fleeting moments of unscripted time. His work is a testament to the natural wonder surrounding daily life. Originally from South Africa, Matthew Hardy-Brown's creative roots were planted in the landscapes of Australia, upon his relocation at 10 years old. While he didn't grow up by the ocean, it was here that he found his poetic sanctuary. As a self-described introvert, Matthew Hardy-Brown sought refuge by the water's edge, discovering his voice through the lens of his camera. He values unfiltered moments, intentionally avoiding excessive editing and digital manipulation. To MHB, magic ignites through authenticity—a commitment he fiercely upholds. At the core of Matthew Hardy-Brown's ethos lies a resounding mantra: "Live Often, Smile More." Having personally confronted the harsh realities of life's unpredictability, he gained a profound insight: tomorrow is not promised. Fuelled by this understanding, he is on a mission to share the world's inherent beauty, to inspire others that it's never too late to pursue a passion, to be a good human, and ultimately, to live often and smile more. His passion for capturing life's grandeur has earned him collaborations with industry giants such as Ralph Lauren, Mini Cooper, Paramount Pictures, and GoPro. His proudest achievement earned him the national exclusive as Canon’s premier artist with his timeless images featured throughout stores across Australia. Statement: Matthew explores the delicate dance between the wild and the human spirit, capturing moments that transcend the ordinary. Through a lens finely tuned to the nuances of the natural world, these pieces invite viewers to immerse themselves in the rhythmic chaos of crashing waves, the fearless dance of surfers, and the subtle interplay of light and shadow on the water's surface.
Judith Joy Ross
Judith Joy Ross
United States
1946
Judith Joy Ross (born 1946) is an American portrait photographer born in Hazleton, Pennsylvania in 1946. She graduated from the Moore College of Art in 1968 and earned a master's degree in photography in 1970 from the Institute of Design at the Illinois Institute of Technology in Chicago, where she studied with Aaron Siskind. Since the early 1980s, Ross has photographed a cross-section of the American population, especially people in eastern Pennsylvania where she was born and raised. Ross uses an 8×10 inch view camera mounted on a tripod and her portraits are made on printing out paper by contact, a process by which a print is made by placing a negative directly onto photographic paper, and then exposing it to sunlight for a few minutes to a few hours. Her photographic antecedents include the German August Sander and the American Diane Arbus. Her series include pictures of children at Eurana Park in Weatherly, Pennsylvania (1982), visitors to the Vietnam Veterans Memorial in Washington D.C. (1983–1984), members of the United States Congress and their aides in their Washington offices (1986–1987), laborers, people at shopping malls, and children at play near her home in Bethlehem, Pennsylvania. She has also photographed immigrants in New York City and Paris, and was commissioned by the San Francisco Museum of Modern Art to photograph tech workers in Silicon Valley, California. One of her major projects, pictures made from 1992 to 1994 in Hazleton public schools she had attended in the 1950s and 1960s, was published by the Yale University Art Gallery in 2006 as Portraits of the Hazleton Public Schools. Ross has been awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation (1985), a city of Easton, Pennsylvania Council on the Arts Grant (1988), the Charles Pratt Memorial Award of $25,000 (1992), and the Andrea Frank Foundation Award (1998). Monographs and exhibition catalogs of her work have been published internationally. Her books include Contemporaries (1995), Portraits (1996), Portraits of the Hazleton Public Schools (2006) and Protest the War (2007), "exploring such themes as the innocence of youth, the faces of political power, and the emotional toll of war". John Szarkowski at the Museum of Modern Art in New York selected Ross' work for the first exhibition in the New Photography series. In 2011, Die Photographische Sammlung in Cologne organized a retrospective exhibition of Ross's work which traveled to the Kunstmuseum Kloster in Madeburg and the Foundation A Stichting, Brussels.Source: Wikipedia Since the early 1980s, the American photographer Judith Joy Ross has dedicated her work to the medium of portraiture. She is best known for her sensitive, deeply personal, yet authentic portraits of various groups of people at the center of American society: school children and teachers, soldiers, visitors to the Vietnam Veterans Memorial in Washington D.C. and U.S. Congress members of the Republican and Democratic parties. The photographs, which Ross contextualizes by arranging them in series, offer both an aesthetic and a humanitarian approach to photography. Judith Joy Ross’s work shows references to photographers like August Sander, Eugène Atget, Walker Evans or Diane Arbus in her documentary style and her use of technical equipment. She photographs with an 8x10 inch view camera, which due to long exposure times and the need to set up a tripod forces her to concentrate on her subjects and does not allow for snapshots. The subjects are usually strangers to the photographer and so the photograph itself becomes an intense encounter. August Sander is often mentioned as a major influence. Both, Ross and Sander focus on facial expressions, gestures and posture of their subjects. However, while Sander’s famous photographs from the series People of the 20th Century is staged and aims at categorizing certain social groups, Ross does not give directions to her subjects and thus achieves an immediacy that characterizes her approach and style. It makes the viewer think about the inner reality of the person by using their own social experience in order to relate to the people she portraits, thus stressing the individuality of each subject over their association with a specific group. Judith Joy Ross describes her intention as follows: “The world outside oneself is bigger than ones idea of it. One tries to align oneself with that bigger world in making a picture”.Source: Galerie Thomas Zander At present, Ross is suffering from an eye problem following pre-pandemic surgery that has left her with double vision. “I can photograph,” she say, “but it’s hard to take a walk.” One senses that photography gave her a way to be in the world. “I’m just interested in people, but I don’t want to get too close to them,” she says. “I keep them at arm’s length with the camera. It’s like a magic charm. It’s such an intense pleasure to photograph strangers because, in that moment, you can see them in such an intimate way. It’s kind of crazy, but I love some of those people even though I have never seen them again.”Source: The Guardian
Masis Usenmez
Masis Usenmez
Turkey/France
I was born in 1979, in Istanbul, Turkey. Since 2017, I'm living in Rennes, France with my wife and two kids. I started photography in my 30s. I graduated in economics from Yildiz Technical University in 2000, MBA degree From Istanbul University in 2002, Photography undergrad at Anadolu University in 2013, and Master of Photography at Marmara University in 2019. I compete in many competitions and gain more than 300 acceptances and some medals. I participated in exhibitions in Turkey, Europe, and the USA. I honored with an EFIAP degree from FIAP. Statement My passion is street and documentary photography. On the street, I like to shoot with a rangefinder or mirrorless camera with a 35mm/50mm lens. I mostly transfer images to black and white with high contrast and grain. I like to use Black & White for give a more clear but surreal feeling in my images. It removes the distraction of color and help us focus on textures, shapes and patterns. With use of high contrast and grain, I can give my images a timeless mood.
Constant Puyo
Constant Puyo
France
1857 | † 1933
Constant Puyo, born in France on August 10, 1857, was a pioneering photographer who made significant contributions to the art of photography in the late nineteenth and early twentieth century. He was instrumental in the growth of Pictorialism, an artistic movement that aspired to raise photography to the realm of fine art through creative techniques and an emphasis on aesthetic expression. Puyo began his artistic career as a painter, where he studied under great artists such as William-Adolphe Bouguereau and Tony Robert-Fleury. His exploration of photography, however, was what truly released his creative potential. Puyo joined the Photo-Club de Paris in the 1890s and began experimenting with the Pictorialist style, which aspired to move photography beyond basic documentation and into a medium for artistic expression. Puyo's images had a dreamlike aspect to them, with soft focus and diffused lighting. To produce a painterly impression in his photos, he used a variety of processes, including gum bichromate printing. His pictures, in particular, were admired for capturing the inner essence of his subjects, showing their emotions and personalities. Puyo's work in the invention of autochrome photography was one of his noteworthy contributions to the Pictorialist movement. He investigated the possibilities of color photography with the Lumière brothers at a period when the medium was largely black and white. His mastery of color and ability to create ethereal, atmospheric images distinguishes him as a top figure in the area. Puyo's themes frequently centred around beauty, femininity, and the natural world. He used female models frequently, photographing them in poetic settings filled with flowers, textiles, and delicate objects. His images radiated nostalgia and romanticism, closely fitting with the ideas of the Art Nouveau movement. Puyo exhibited frequently throughout his career and received acclaim for his contributions to the art world. His images have been shown at prestigious exhibitions such as the Salon de la Société Française de Photographie and the Exposition Universelle in Paris. Puyo's photographs have also appeared in prestigious journals such as Camera Notes and Photo-Gazette. Puyo's influence also expanded beyond his personal photographic practice. He taught and mentored prospective photographers, passing on his knowledge and techniques to the next generation. He co-founded the Pictorial Photographic Society of France in 1909, cementing his status as a pivotal participant in the Pictorialist movement. Constant Puyo's legacy as a pioneer of Pictorialist photography goes on, reminding us of the power of artistic expression in the field of photography. His ability to capture the fleeting and provoke emotions through his photos continues to inspire photographers and artists all around the world.
Sawyer Brice
Sawyer Brice
United States
2000
I am a portrait photographer. I have always aimed for my work to feel as timeless as possible. I think I've always been chasing that feeling. I want my work to be impactful and show people truth and reality but also bring hope and wonder to whatever audience may see it. I want my work to feel vulnerable. I want to help tell people's stories, whether they are non-fictional or fictional, all while telling my own. I love to shoot on various film formats, especially 120mm, as it allows me to slow time down and truly interact with my subjects. Thus, ensuring I can observe and grasp their feelings and personality, which ideally translates into the films produced. I love making photographs, and will never stop aiming to tell stories.
Hiroto Fukuda
Hiroto Fukuda
Japan
1973
Nature wildbird photographer Hiroto Fukuda was born in Japan in 1973. He has over 20 years of photography experience. He has been photographing nature and wild birds in his field in Japan. His clients include Canon, Tamron, National Geographic Japan, and Wild Bird Society of Japan. He is involved in publishing photo books, publishing in magazines, and selling photographs. He has been active mainly in Japan, but now publishes and sells his work internationally. He takes beautiful and artistic photographs of wild birds. Statement I am all about capturing each and every bird photo in an artistically simple and beautiful way. I am a small person, but I want to hold my aspirations high. I cannot take pictures of wild birds and nature if the world is not at peace.I hope that the people who see my photos will smile when they see them, wishing for a beautiful earth and thinking about eliminating wars, making the world peaceful, and cherishing nature. I believe that is my mission. May the earth be beautiful forever and may the world be peaceful forever.
Takuma Nakahira
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
Peter Lindbergh
Peter Lindbergh
Germany
1944 | † 2019
Peter Lindbergh was a German fashion photographer and film director known for his evocative black and white images and his distinctive, naturalistic style. He was born in Lissa, Germany (now Leszno, Poland) and grew up in Duisburg, Germany. He studied photography in Munich and worked as a photographer's assistant in Dusseldorf before moving to Paris in 1978 to start his career as a fashion photographer. Once upon a time, the photographer had to have an idea, not just click the shutter. -- Peter Lindbergh Lindbergh's photographs appeared in numerous international fashion magazines, including Vogue, Harper's Bazaar, and Elle. He also worked with many of the world's leading fashion houses, including Chanel, Dior, and Armani. His images are known for their timeless quality and for the way they capture the spirit and personality of his subjects. In addition to his work in fashion, Peter Lindbergh also directed several films and documentaries, including the documentary Models, which explored the world of fashion modeling, and the film Pollution, which examined environmental issues. Peter Lindbergh was also active in humanitarian causes, using his talent and influence to raise awareness about social and political issues. He was a member of the American Association of Physicians for Human Rights and worked with Amnesty International on a campaign against the death penalty. When you do portrait photography it really can be quite insane. It’s crazy what is possible today. Photoshop is a huge tragedy in that respect as well, no question! -- Peter Lindbergh Lindbergh was the recipient of numerous awards and honors throughout his career, including the Chevalier de l'Ordre des Arts et des Lettres and the German Bambi award. He was also inducted into the German Photography Hall of Fame in 2003. Peter Lindbergh passed away on September 3, 2019 at the age of 74. His work continues to be exhibited and celebrated around the world.
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