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Simona Bonanno
Simona Bonanno
Simona Bonanno

Simona Bonanno

Country: Italy
Birth: 1974

Born in 1974, in Messina, Italy to a family involved in the arts. After obtaining the artistic High School degree in 1992 she studied in Paris, at the Atelier Peninghen, ESAG. She received a Bachelor of Arts, in 1999, at the School of Arts in Italy, where she started photographing with film.

Her photographs have been selected for several group exhibitions in Italy, USA, Canada, France, Australia, Argentina, Israel, Turkey and Denmark. In 2013 she had her first solo exhibition at the Galerie Focale, in Nyon, Switzerland.

A print of her piece from The Inner Invisible series has been auctioned at Snap! Toronto 2014. Two other prints are part of the photography collection of the Bibliothèque National de France.

In November 2013 she won the Grand Prix de Découverte, Abstract category. In 2011 she was the overall winner of the Julia Margaret Cameron Award and Amateur Photographer of the Year in United Kingdom. She was also finalist, shortlisted or first place category winner at several other international competitions.

Her photographs have been published in several magazines, such as CNN, Resource Magazine, Amateur Photographer, Fotografia Reflex, National Geographic, Digital Camera Bookazine Black&White vol. 2, and Drome Magazine.

She presently live in Messina. She works between Italy and Paris.

Website

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More Great Photographers To Discover

Elena Donskaya
Elena Donskaya
Russia
1969
I was born in a small village in Buryatia and have been surrounded by the beauty of this region since birth. My parents worked in a geological expedition, which instilled in me a love of travel. During my school years, I graduated from the School of Arts. I have traveled extensively — to over 30 countries — and visited numerous museums and galleries, experiences that have fueled my passion for photography and helped me develop a refined artistic taste. I have been actively engaged in photography for the past three years, specializing mainly in female portraits, while also exploring a variety of other genres. AAP Magazine: AAP Magazine 49: B&W
Ian Berry
Ian Berry
United Kingdom
1934
Ian Berry made his reputation as a photojournalist reporting from South Africa, where he worked for the Sunday Times and Drum magazine. He was the only photographer to document the massacre at Sharpeville. While based in Paris he was invited to join Magnum by Henri Cartier-Bresson. He moved to London to become the first contract photographer for the Observer Magazine. He has covered, conflict in Israel, Ireland, Vietnam, Czechoslovakia and Congo, famine in Ethiopia and apartheid in South Africa. He has also reported on the political and social transformations in China and the former USSR. Awards include Nikon Photographer of the Year (twice), Picture of the Year award from the National Press Photographers of America, and British Press Magazine Photographer of the Year (twice). Arts Council Award, Art Directors' Club of New York Award. His books include The English, two books on South Africa, Sold into slavery and Sea. Exhibitions in London, Paris, Hamburg, Brussels, Bradford, Perpignan, Aix en Provence Shanghai, Lowry Gallery, Walker Art Gallery Liverpool, Edinburgh, SCOP Shanghai, Hastings, Bruges. Ian Berry: Street Photography Photojournalism, documentary, reportage, call it what you will, shooting on the street is not easy. It needs a level of dedication and commitment as well as preparation, both mentally and with your shooting equipment. I'm aware of the differences of opinion over whether a photographer should ask a potential subject's permission before taking a picture. My take on the matter is that if you want a self-conscious stare into the camera, by all means ask, but if you want a potential subject in their natural environment and make a picture that reflects the situation, then shoot first and, if needs be, talk later. If observed, a smile nearly always puts your subject at ease. Often I find that if I walk out of a hotel in a strange city and go unnoticed when shooting the first picture, I'm high all day and can photograph non-stop without being seen or rebuffed, but a bad reaction from the first subject and I might as well go back to bed. A good way to hone your skills is to attend local events, street fairs and even pet shows, places where people are more amenable and accustomed to being photographed. It goes without saying that whether planning to shoot abroad or in Britain one should respect local customs and dress codes. It's no good wandering around a city in shorts and colourful T-shirts if you wish to move unobserved. This selective process also applies to equipment; whether you compromise between the Christmas tree approach and the sneaky ‘one camera in the hand behind the back' system, and between carrying enough gear to cope with whatever might arise, but not so much that you're exhausted after a few hours. I'm always amazed at colleagues who walk up to people with a 28mm lens and a flashgun banging away in their faces. It certainly creates a style but adds artificiality that I find unpleasant, both visually and in terms of aggression towards the subject. I think a style on the street should be created by a vision rather than a technique. Also the benefit of today's digital cameras to boost the ISO has enabled me at least to ditch a flashgun altogether during the day. Once in a while a new photographer joins Magnum with a totally different vision, like Russian Gueorgui Pinkhassov, who really excites me and makes me want to go out and shoot, not to recreate his style but rather to reinvent myself. I love to shoot with two fixed focal length lenses on two quiet Olympus cameras hanging around my neck, partially concealed under a vest or jacket. Only partially concealed because I don't want it to appear as if I were trying to hide the fact I am a photographer. The lenses I use are a 28mm and a 50mm, which are small, light and fast. I prefer fixed focal length lenses because I like to know exactly what is going to be in the frame, and it's far easier to take half a step forward or backward than fiddling with a zoom. In Magnum the jury is out among the street shooters over whether a DSLR or a range finder is the better choice, but nearly all use single focal length lenses. The other plus of a small camera is that you are often perceived as an amateur photographer and therefore less of a threat to the people you're photographing. Shooting with a long zoom on the street is a definite no-no, as you will be viewed as a voyeur. Curiously, I find I can be 3ft or 4ft from someone, shoot with a 28mm lens and pass by unnoticed and yet be obvious at 15ft. A recent fashion trend I don't think works is trying to carry equipment in a rucksack. It's great for the countryside or getting to or from a location but on the street every second counts and by the time you get a camera or lens out of this sort of bag, night has fallen and everyone has gone home. I find that a soft bag of the Domke variety will hold a body with longer lens inconspicuously but within quick reach. Whatever your kit set-up, however, the same creative needs apply. The ability to recognise a potential situation and produce an elegant composition in a fraction of a second on the street is what separates the great photojournalists such as Eugene Smith, Sebastião Salgado and Alex Webb from the rest of us. I've noticed that with that ability comes the physical stamina and professionalism to pound the streets for 12 hours on the trot. The basic elements are either to grab the decisive moment on the hoof, to see a potential situation and hover unseen until it develops, or spot a potentially great background and be prepared to hang around for an hour or more until the right juxtaposition of people slot into place in front of you. This is something I frequently do, especially in a foreign environment; simply wait until you become part of the fixtures and fittings so that when you raise the camera slowly and smoothly to the eye, no one's attention is drawn by an unusual movement. One of the great things about growing up photographically in Magnum was the words of wisdom dropped casually on occasion by Henri Cartier-Bresson. For example, "A great photograph is not an intellectual result, the only intellectual involvement is being there in the first place. The actual moment is purely intuitive, like squeezing the trigger of a gun when your subject is in exactly the right place in the frame." On another occasion as we were wandering around in Paris, "Walk softly and slowly. If you are moving quickly and stop suddenly, the people you are about to photograph will react to the change of pace in their peripheral vision and become aware of you." Street photography in Britain has become another issue. Years ago when travelling from Istanbul to Beijing by train, I'd passed from Iran into Turkmenistan and was shooting in the capital, Ashgabat. Most of the main buildings had 15ft-high portraits of the President in true personality cult style and after wandering around I chose what I thought was the most interesting building architecturally. I then stood for quite a while waiting for interesting people to pass by to make up the shape. After a short time a couple of guys came out of the building and watched me, then came over and ‘invited' me into the building. It transpired I was photographing the equivalent of the FSBheadquarters. One of the men spoke excellent English and after quizzing me in a not unpleasant way, asked that if he were to come to London would he be allowed to photograph Scotland Yard? In response I invited him to call me when he was next in London so we could photograph it together. Sadly I could not do that any more, we are no longer that relaxed a society. So what to do when you're in front of the Bank of England trying to shoot an essay on the City and an officious PCSO or a jobsworth from the nearest sock shop arrives to tell you to desist, or worse, delete your images? The advice of lawyer Rupert Grey, who knows a thing or two about photographers' rights, is to keep your cool, be polite and explain that you are perfectly entitled to take photographs in a public place without being hassled. The public are more sensible on the whole, although it's still best to avoid photographing children. Years ago when shooting for my book, The English, I was able to go into school playgrounds with the teachers' approval and thought nothing of it; and it was the same in shopping centres, even hospitals, but no longer. Having said that, not too long ago I was passing an African-Caribbean church and stopped outside to take a few pictures of people milling around, only to be invited in to photograph the service – a pleasurable experience in this age, which tells me that one should not give up on recording life in Britain. Ian's words of wisdom "Know your camera inside out. Walk with your finger on the release. Have your lens pre-focused (Josef Koudelka had bits of matchsticks glued to Olympus lenses at different points to focus by feel). A single focal lens is best. I shoot on aperture, only adjusting as light conditions change. Don't be intimidated, most people are happy to be photographed. If nervous walk with a friend, although they are always distracting and get in the way. Buy a waistcoat or jacket a size too big to keep your camera concealed inside. Look around you constantly. Be discreet; looking beyond the subject after shooting often helps. If confronted, good-humoured banter and a smile always work."
Idan Hojman
Idan Hojman
Israel
1980
Idan Hojman was born In Israel in 1980. He started making photography at the age of 21 while traveling in Asia. Idan uses a Rolleiflex analogical camera of medium format, mainly shooting in Black & White. He currently lives in Barcelona, Spain. Artist Statement: "For me photography is a form of meditation, a simple observation of what is happening around us, a way to connect with the present moment from instant to instant. There is so much beauty in this world; one has only to open his eyes and heart in order to see it."Source: www.idanhojmanphotography.com
David Hurn
David Hurn
United Kingdom
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David Hurn is a British documentary photographer and member of Magnum Photos. Hurn was born on 21 July 1934 in Redhill, Surrey, England. He was raised in Cardiff, Wales. Because of his dyslexia he joined the school camera club. After leaving school he headed for London, hoping to become a photographer. Hurn is a self-taught photographer. He began his career in 1955 when he worked for Reflex Agency. He gained his reputation as a photojournalist for his documentation of the Hungarian revolution of 1956, and is featured in two of Ken Russell's films for the Monitor television arts' series, A House in Bayswater (1960), and Watch the Birdie (1963). In 1965 he became associated with Magnum Photos and became a full member in 1967. In 1963, Hurn was commissioned by the producers of the James Bond films to shoot a series of stills with Sean Connery and the actresses of From Russia with Love. When the theatrical property Walther PPK pistol didn't arrive, Hurn volunteered the use of his own Walther LP-53 air pistol. The pistol became a symbol of James Bond on many film posters of the series. In 1967 Dino de Laurentiis asked Hurn to travel to Rome to shoot photos of Jane Fonda in Barbarella. Hurn returned to Wales in the late 1960s, initially living in a van for a year photographing the country. He was married from 1964-71 to American actress Alita Naughton (1942-2019), best known for her role in Ken Russell’s French Dressing (1964). In 1973 he set up the School of Documentary Photography in Newport, Wales. Eventually, he turned away from documentary photojournalism, bringing a more personal approach to his image making. He says, "There are many forms of photography. I consider myself simply a recorder of that which I find of interest around me. I personally have no desire to create or stage direct ideas." His book, Wales: Land of My Father (2000), illustrates the traditional and the modern aspects of Wales. In 2001 he was diagnosed with colon cancer but made a full recovery. He continues to live and work in Wales, and has donated a collection of photographs taken by him and other leading contemporary photographers, including Henri Cartier-Bresson, Eve Arnold, and Bill Brandt, to the National Museum of Wales. Hurn has been an avid collector of photography. Remarkably, he has amassed his private collection by swapping works with other photographers. The collection National Museum Cardiff comprises approximately 700 photographs. Swaps: Photographs from the David Hurn Collection, National Museum Cardiff, Wales, September 2017 – April 2018. In 2017 Hurn donated 1500 of his photographs, and 700 of other peoples' photographs, to Amgueddfa Cymru – National Museum Wales. He built his private collection of other peoples' work by swapping prints with them. National Museum Cardiff held an exhibition of the latter collection in 2017/2018, entitled Swaps: Photographs from the David Hurn Collection.Source: Wikipedia
Angela Bacon-Kidwell
Angela Bacon-Kidwell
United States
Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NYHome by Nightfall (2012-2014)Silence ceased for him in 2011 not a whisper, but a relentless roaring thunder molding his spirit into mourning In his misery, a new vaporous malice was brewing the ringing was a warning tinnitus and cancer were converging Every known eradication was pursued He and I, separated by many miles, shared a need for solitude cultivated by lucid country drives We drove separately through the dark districts of our minds invariably contemplating what was to come, a symbiotic transitory landscape emerged and the thunder soared in 2013 Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers all tedious throbbing answers How many miles in a life? What shape is the color grey? When does an echo become whole? During the three years of relentless discord, I created images of these ambiguous queries emoting, sensing, seeking There is a truth in "big" questions with small answers Clarity in the midst of chaos Hope in the face of despair Silence returned for him on May 24, 2014 He was my father.
Mark Power
Mark Power
United Kingdom
1959
Mark Power is a British photographer. He is a member of Magnum Photos and Professor of Photography in The Faculty of Arts and Architecture at the University of Brighton. Power has been awarded the Terence Donovan Award and an Honorary Fellowship from the Royal Photographic Society. Power was born in Harpenden, England, in 1959. He studied Fine Art at Brighton Polytechnic (1978–1981), and then travelled extensively, discovering a love for photography along the way. Upon his return, he worked as a freelance for several UK publications and charities. Power happened to be in Berlin on 9 November 1989 and photographed the fall of the Berlin Wall. He later published the photographs in the book Die Mauer ist Weg! (2014). Between 1992 and 1996, he embarked on The Shipping Forecast — a project that involved travelling to and photographing all 31 areas covered by the Shipping Forecast broadcast on BBC Radio 4. This project was published as a book and was a touring exhibition across the UK and France. He used a Volkswagen campervan as his mode of transport for the project, echoing the late Tony Ray-Jones, whose work has similarities in style and meaning to Power's. Between 1997 and 2000, Power was commissioned to document the Millennium Dome in London, a project that resulted in another touring exhibition and the accompanying book, Superstructure. Around this time his technical methods changed and he began to use colour film and a large format camera. This was followed by The Treasury Project, published in 2002, which recorded the renovation of the UK government's treasury building on Whitehall, London. In 2003, he undertook another personal project, using the London A–Z map as inspiration. The work, titled 26 Different Endings, is a collection of images examining the areas on the outer boundaries of the map. The project was exhibited at the Centre of Visual Art at the University of Brighton, and was published as a book in 2007. Between 1988 and 2002 Power was a member of Network Photographers. In 2002 he became a nominee of Magnum Photos, an associate in 2005 and a full member in 2007. Between 1992 and 2004 he was Senior Lecturer in Photography at the University of Brighton, becoming Professor of Photography in 2004, until the present. From 2004, he spent five years working on The Sound of Two Songs, on Poland's first five years as a member of the European Union. Between 2006 and 2010 Mark Power collaborated with poet Daniel Cockrill to document the rise in English nationalism. The pair undertook a series of road trips around England, culminating in the book Destroying the Laboratory for the Sake of the Experiment. In 2011 he undertook a commission from Multistory to make work that explored the social landscape of the Black Country through photography and film. He made urban landscapes; a series of photographs of elegant footwear; and a series of short films made in beauty salons, tattoo parlours and nightclubs. In 2014 Power began a self-publishing imprint, Globtik Books, with the publication of his book Die Mauer ist Weg!. Power primarily uses a digital medium format view camera, after he worked with large format film for many years. More recently he diversified into short film making.Source: Wikipedia As a child, Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, though he later went to art college to study life-drawing and painting instead. After graduating, he travelled for two years around South-East Asia and Australia. To support himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of identical paintings for others to sell as their own in the Australian outback (very questionable, this one!) and ended up running the camera department of a large chemist in Bankstown, in the Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera more than a pencil and decided to 'become a photographer' on his return to England, two years later, in 1983.Source: www.markpower.co.uk
Ada Trillo
Ada Trillo
United States
1976
Ada Trillo is a photographer based in Philadelphia, PA, and Juarez, Mexico. Trillo holds degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia. Trillo's work is concerned with human rights issues facing Latin America. Trillo has documented forced prostitution in Juarez, Mexico, the infamous La Bestia train, the migrant caravans of 2018 and 2020, and the struggles of asylum seekers directly affected by Trump's Remain in Mexico policy. Trillo has exhibited internationally at Saint Josephs University in Philadelphia, The Photo Meetings in Luxembourg, The Passion for Freedom Art Festival in London, Festival Internazionale di Fotografia in Cortona Italy and at the Anya and Andrew Shiva Gallery at the John Jay College in New, York. In 2017, Trillo received a Leeway Foundation Art and Change Grant. Her work has been featured in The British Journal of Photography, The Guardian, and Smithsonian Magazine. Trillo was recently awarded a CFEVA Fellowship by The Center For Emerging Visual Artists and was named the Visual Artist-in-Residence for Fleisher Art Memorial in Philadelphia. Her work is included in the permanent collection of the Philadelphia Museum of Art and The West Collection. Trillo was awarded First Place in Editorial Photos with the Tokyo International Foto Awards. She was recently awarded the ME&Eve grant with the Center of photographic arts in Santa Fe. Statement I was born in El Paso, Texas but I was raised in Juarez, Mexico. As a teenager, I traveled back and forth between the two cities so I could attend school in the states. Witnessing life on the border as a young adult had a strong influence on my worldview and art practice. After years of working as a painter, I picked up a camera and started making pictures. For the past four years, I've been documenting the journey migrants take to reach the US-Mexico border. In 2017, I photographed aboard the infamous La Bestia, a dangerous journey by a freight train that migrants from Mexico and Central America ride every year to reach the border. In 2018 & 2019 I photographed overpopulated migrant shelters in Juarez and Tijuana. I also traveled with the migrant caravans of 2018 and 2020, from Honduras, through Guatemala, and into Mexico. In 2019, I photographed asylum seekers who were barred entry into the US under Trump's, Remain in Mexico Policy. While the media often covers what is happening at the border, they all too often overlook the individual trials, struggles, and humanity of those seeking to escape violence in pursuit of a better life. Spending countless days and nights living alongside those I photograph, I hope to present an honest, unadulterated view of migrant life. I photograph exclusively with a 35mm camera and fixed lenses. My process of making pictures is about creating real connections with my subjects in search of depth and intimacy in my work. My goal is to humanize their struggle and share their stories with the world.
David Zimmerman
David Zimmerman
United States
David Zimmerman is an American photographer and filmmaker living in New Mexico and India. Zimmerman was based in New York City for many years prior to shifting his work to the New Mexico high desert. Zimmerman's studio in New Mexico is entirely solar powered. He is an honors graduate of Brooks Institute (BFA, 1982). Zimmerman's work has been exhibited internationally in numerous solo and group exhibitions including, Witte de With Center for Contemporary Art, Rotterdam, Netherlands; Art on Paper, New York City; Castello di Rivoli Museum of Contemporary Art, Turin, Italy; AIPAD, New York City; Circulo de Bellas Artes, Madrid, Spain; Thessaloniki Cultural Museum, Thessaloniki, Greece; FRAC Bourgogne, Dijon, France; Annenberg Space for Photography, Los Angeles; Hearst Photography Biennial, New York City; Paris Photo LA, Los Angeles; Context Art Miami; Sous les Etoiles Gallery, New York City and A. Galerie, Paris, France, among others. Zimmerman is the recipient of numerous awards including the Sony World Photography Awards, L'Iris D'Or Prize for his Desert work. Zimmerman is co-founder of the Himalayan Art Centre - a free school dedicated to teaching visual storytelling through photography and filmmaking in remote and underserved regions of the Indian Himalayas. Zimmerman's recent monograph, One Voice; Portraits from the Tibetan Diaspora, has been published by Kehrer Verlag, Heidelberg, Germany.
Pierre Baëlen
Pierre Baëlen
France
1981
Pierre Baëlen was born in 1981 in South of France. His interest in photography began when his best friend promised him to have good fun in jumping in devastated buldings during photography courses when he was 14 years old. Surprising by the discover of the The 6x6 camera, his first love quickly became the darkroom where he began experimenting with printing and developing in the family's bathroom.He attended Orthez's photography School for Performing & Visual Arts and, from there, went on to attend photography report and experimental in illustration work. He moved to Paris in 2001. In October 2001, he began shooting small assignments as freelance photographer. Next winter he met a car advertising photographer, with wich one he spent about 8 years working and traveling all arround the world as first freelance assistant. During the evolution from large format and digital shooting experimentation in assignement works as first assistant gave him the priceless experience in comptempory photography. Summer 2011, he became a full time photographer. The main theme of his work revolves arround imaginary landscapes, a journey between onirism and comtempory reality. Discover Pierre Baëlen's Interview
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