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Alban Lécuyer
Courtesy Aline Barrault
Alban Lécuyer
Alban Lécuyer

Alban Lécuyer

Country: France
Birth: 1977

Born in Paris in 1977, Alban Lécuyer studied Journalism and Photography at the Lille Graduate School of Journalism (France). He mainly works as a photographer of architecture within public projects and for private companies (advertising campaigns, photographic missions). Whilst collaborating with various journals, he teaches the History of Photography and Image Analysis at the DMA in Nantes (France). His personal projects centre around the analysis of new forms of dwellings from the social, economic, political and media point of view, and on the alteration of urban space. His works have been exhibited in Spain (Getxophoto Festival), in Switzerland (Biel Festival of Photography) and in France (Le BAL, Circulation(s) Festival, Images Singulières Festival, Archifoto – International Awards of Architectural Photography, etc.).

The Here Soon project transposes reality from everyday city life into the aesthetic of computer graphics, which aim to showcase high-quality real estate projects. The pictures of the series reproduce the codes of those fictitious representations of reality: contrasts are light, shadows are reduced to a minimum, and all that stands between the spectator and the architectural project – trees, vehicles, passers-by and so on – is shown in transparency. Nevertheless, the frame leaves place for writing on the walls, laundry hung out to dry, abandoned objects, trash – everything that bears witness to a civilization that has left its mark on the place that it inhabits. The presence of the local residents also calls attention to their singularity, their paths, and their relationship with their surroundings. Therefore, the emergence of a concrete memory of places contradicts the universal and potential value of images.
 

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More Great Photographers To Discover

Jana Šantavá
Slovakia
1978
Jana Šantavá is a visual artist and fine art photographer based in Bratislava, Slovakia. Her work explores themes of introspection, identity, and the space between reality and dream, often through staged, cinematic imagery that invites the viewer into layered narratives. Using mirrors, duplicated figures, and subtle surreal elements, she creates photographs that function as both visual poetry and metaphorical self-portraits of the human psyche. Her photographs have been exhibited internationally in cities such as Paris, Milan, New York, Venice, Arles, Budapest, and Athens, as well as across Slovakia. She has received multiple awards, including the Gold Medal at the Budapest International Foto Awards 2023, Silver at the World Photo Annual 2023, and recognition from PX3 de la Photographie Paris 2023. In 2024, she presented her solo exhibition Echoes of Identity at the Slovak Institute in Berlin. In 2025, her works are featured at ImageNation London and ImageNation New York, continuing her presence on the international fine art photography scene. Through her distinctive visual language, Šantavá challenges the boundaries between staged reality and dreamlike fiction, offering viewers a space for reflection, emotion, and self-discovery. Artist Statement In my work, I explore silence, introspection, and the space between reality and dream. I am fascinated by the idea of the doppelgänger – the second self – reflecting our inner divisions and untold stories. In my photographs, a figure often turns away, gazes through a curtain, or into a mirror. This moment of indirect gaze becomes a key to intimacy – opening a space for the viewer to become the co-author of the narrative. I stage scenes where I work with mirrors, duplicated figures, and strong color contrasts. My aim is not only aesthetic but also metaphorical – a reflection of our inner dialogues, desires, and contradictions. Each photograph is, for me, a visual trace of an emotional movement that cannot be captured in words. My goal is to create images that awaken questions rather than provide answers, opening an inner conversation about what might be hidden behind an apparent calm. Awarded Photographer of the Week - Week 34, 2025
Anna Hayat and Slava Pirsky
We are Anna Hayat (born 1974) and Slava Pirsky (born 1965), originally from the Soviet Union. Each of us decided to start a new life in Israel in the early 90s, in search of new horizons. Fate brought us to Jerusalem through different paths, where we lived for over 20 years and now find joy in a small town nearby. We met in 1999 and instantly felt a special connection, as if our shared passion for photography brought us closer. In 2000, we became proud parents of an exquisite daughter whom we started photographing from her very birth. Since then, we have become an inseparable team and partners in the world of photography and art. For over 20 years, we have actively collaborated on joint photography projects. Our creative process revolves around analog photography, primarily using old Polaroid large-format black and white negative plates. Despite the discontinuation of production of these films in 2008, we use expired films to create unique and emotive works of art. We capture images using both a large studio camera and small field Polaroid cameras. The slow shooting process is of utmost importance to us, as it imparts a special depth to our works. In a way, the negative itself becomes another partner in our process. We appreciate the unpredictability of old negatives, which gives our photographs a distinct character, a touch of poetry, and a timeless feeling that is crucial to our work. Our latest project reflects our emotions and pain caused by Russia's treacherous aggression. For this series, we ventured into a mixed technique for the first time, tearing and cutting our works, stitching them anew, adding patches and seams. The project was showcased at the Ramlah Museum and immediately after at the KyotoGraphie International Photography Festival in Japan.
Randall Romano
Canada
1957
Randall has been making photographs for over 45 years, initially in the nature/landscape genre, eventually evolving to run a commercial photography business focused on interior and exterior architectural clients. Since 2015, after closing the business, he focused solely on photographing subjects and projects that are of personal interest. These consist largely of street and documentary subjects. He has also been active in lecturing about photography, to a wide variety of Ontario camera groups. These presentations sought to stir up and challenge traditional notions on photography, bringing to light the work and importance of master photographers. A recent book publication: Reaching a Higher Level in Photography (2023) has come out of these presentations. I believe the camera’s strength is its ability to capture fleeting moments, to stop time and create a sense of curiosity in the viewer. If a still image is to be successful it has to illustrate something missed and something fleeting. Chasing this fleeting moment of uniqueness allows me to better saviour life. A father of four children, Randall and his wife Catherine live on a rural property near Peterborough, Ontario, Canada. Statement Photography represents much more to me than only exploring the world. It is the ability to capture a moment of time, to rip a unique page from the book of life. Photographs at their best tell a story or reveal a penetrating statement, not only through an individual picture but also through groups of photographs. The camera provides a means to document and freeze a passing juncture, perhaps capturing an important instant, a blink of vision that without the camera would be gone forever. The simple act of making a photograph encourages the photographer to stop and carefully look at the complexity of life. This uncomplicated act opens up details of the world lost to others. At its true essence, the camera is a persistent companion documenting a unique view of the world and travelling along through our life journeys. The techniques I use to capture these moments of life and narratives are not based on technological prowess, because to me the camera is only a tool to be harnessed. Photographs reflect and document the real world and are a contemplation of things as they are. Technology is only a means to capture this reality. The ultimate success of the process is the strength and validity of the final product, and the need it creates in the viewer to linger and explore. Winner AAP Magazine #30 Shadows
Alicia Moneva
"The common thread in all my work is the footprint of the human, with humanized objects and spaces made by man, architectural painting and photography, trying to explain social and psychological concepts through the figure. Coming from the world of painting my type of photography is built. Based on a generic idea, will be taking individual photos that will form part of the final work. Each shot in digital format, will later join with the help of photoshop. This tool is almost exclusively used for the matrix composition. All these pictures are real, the waters of colors are stained for each session, lights, ropes, etc. are used maybe that way I put me more in the concept that I want to express. My work models are people I know, in my environment, there is a complicity and prior understanding, they bring to the session his way of expressing the idea, much enriched the work. Also, say the interest that raised me shadows, which is evidenced in my way of photographing. Penumbra, in my opinion, they dimension the vacuum of space, they materialize it, make it real. My work is the antithesis of the photography, which I would call operating room, without just shadows. Overhead view of my work, is strongly influenced by the years that I was in contact with the architects. At the end of my studies of biological sciences I worked continuously with them. My task there was the explanation of the urban projects through roof planes. With a pictorial abstraction were given a human scale. I was very lucky, I found interesting people that opened a world of possibilities, which taught me to see after looking at. At the same time, painting was transformed into something serious in my life, I started to exhibit and to devote myself more professionally to art. Photography was in principle a work tool, a tool more for my collection of data, it helped me to paint everything you had no way of doing so natural. Little by little I found comfortable with the photographic image and the human figure to express the ideas that were emerging. I went through a very unproductive at work time, since I opposed the painting to photography, when they were actually for me very complementary. At this time that seemed to lost went back to College, first studying psychology and later philosophy. None of the two races ended them, as it was not so important to have an academic degree, but if you continue learning, similar of being alive. My exhibitions were photography, although in principle and respect for the world of photography, I thought that I was an intruder, had the desire and the security to do so, also the need. Self-portrait I submit for publication to reflect a state of confusion we all, from time to time we have suffered, when a mesh does not let you see clearly the reality. As if it were a necessary self-deception on occasions." -- Alicia Moneva - Madrid, October 2013 Interview with Alicia Moneva AAP: When did you realize you wanted to be a photographer?It was progressive. I needed to work with the human figure and I felt more comfortable with photography. AAP: Where did you study photography?I didn't study painting or photography. My teachers were architects who knew the method and had perception. AAP: How long have you been a photographer?I have been taking photographs for 20 years but, professionally, just 10. AAP: Do you remember your first shot? What was it?They were objects that I wanted to paint in my Studio and I couldn't move them from the place they were. And also black and white portraits, many portraits. AAP: What or who inspires you?I am inspired by philosophy, anthropology, biology... and now also particle physics. Science and arts basically. AAP: Do you have a favorite photograph or series?My favorite series are the last I have been working on: The disease in our culture, which is about chronically ill people, the unknown heroes of our time. It is a tribute to them, their carers and families. AAP: What kind of gear do you use? Camera, lens, digital, film?When I started I used an old Pentax, with black and white rolls for portraits and color rolls for objects I painted later. Now I work with a Canon 5D Mark II and a Canon 7D. The lenses are also Canon. AAP: Do you spend a lot of time editing your images? For what purpose?My pictures are made of many individual photographs. I use photo editing programs to assemble and compose the final image. For me it is important to convey the idea I have in mind and I edit the photos until I think the concept is understood. AAP: Favorite(s) photographer(s)?I really like Spanish creativity. My favorite are perhaps Chema Madoz for his pulchritudinous images which I would summarize in "less is more". And Cristina García Rodero because she transmits me all the strength of human feelings. AAP: What advice would you give a young photographer?To be passionate about what he is doing, to follow his instincts. And, especially, to be honest with what he thinks, beacuse that will be his way of looking at what the others see. AAP: What mistake should a young photographer avoid?Wanting to be very original? Or thinking you already know everything? AAP: An idea, a sentence, a project you would like to share?I would mention a fragment of one of José Hierro's poems that summarizes well how sometimes a moment can be turned into something timeless. "...But there are things that do not die and others who never lived. And there are some that fill the universe, And it is not possible to get rid of its memory." (José Hierro / "Alegría" 1947). AAP: What are your projects?I have been working lately on a new project with another Spanish photographer, Judith Sansó. It is shared project with a performance which combines photography and video art. The first of these series is called "the distance between her and yesterday is a photo" and talks about memories and how they shape our personality. These are some of the links to the performance and the making of the video work: YouTube video (In Spanish) YouTube video YouTube video AAP: Your best memory as a photographer?None in particular. I like when I start a new project. AAP: Your worst souvenir as a photographer?I can't remember. A well-known neurologist (Á. Pascual Leone) once said that it's more important to forget than to remember, especially bad memories AAP:If you were someone else who would it be?I would have liked to be a good silent film director like Fritz Lang, Renoir or Murnau.
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