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Rafał Michalak
Rafał Michalak
Rafał Michalak

Rafał Michalak

Country: Poland
Birth: 1971

Lives and works in Wroclaw, Poland. He studied political science and public relations. Graduate of Academy of Art and Design in Wroclaw with a Master of Arts (Media Art Department). A member of The Association of Polish Art Photographers (ZPAF).

He has been associated with the advertising industry and commercial photography for years. In his everyday work he deals with brand communication issues as well as visual identity development for companies and corporations. At the same time, he is actively engaged in creating his own original photography, thereafter presented in exhibitions and published in trade magazines. Winner of many photographic praises and commendations.

Human being as individuality and its place in the so fast altering world are the key factors of Michalak’s photographic research. In his photography he is mostly consumed with transgression understood as a conscious and intentional exceeding of bounds and limits that we impose on ourselves or encounter. At the same time, it provides a way to learn more about the hidden depths and makes it possible to experience reality from different points of view. Transgressive approach has characterised Michalak’s personal style of representation, regardless of used technique and medium, ever since he knowingly engaged in fine-art photography. Transgression determines his personal choices in terms of subjects he approaches, and even more so, the message, i.e. the idea behind a photograph, which he believes to be essential.

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@rmichalak

 

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Harry Callahan
Harry Callahan
United States
1912 | † 1999
Harry Callahan (Harry Morey Callahan) (October 22, 1912 – March 15, 1999) was an American photographer and educator. He taught at both the Institute of Design in Chicago and the Rhode Island School of Design. Callahan's first solo exhibition was at the Art Institute of Chicago in 1951. He had a retrospective at the Museum of Modern Art in New York in 1976/1977. Callahan was a recipient of the Edward MacDowell Medal and the National Medal of Arts. Along with the painter Richard Diebenkorn, he represented the United States in the Venice Biennale in 1978. Harry Callahan was born in Detroit, Michigan. He worked at Chrysler when he was a young man then left the company to study engineering at Michigan State University. He dropped out, returned to Chrysler and joined its camera club. Callahan began teaching himself photography in 1938. He formed a friendship with Todd Webb who was also to become a photographer. A talk given by Ansel Adams in 1941 inspired him to take his work seriously. In 1941, Callahan and Webb visited Rocky Mountain State Park but didn't return with any photographs. In 1946 he was invited to teach photography at the Institute of Design in Chicago by László Moholy-Nagy. He moved to Rhode Island in 1961 to establish a photography program at the Rhode Island School of Design, eventually inviting his close friend and fellow artist Aaron Siskind to join him, teaching there until his retirement in 1977. Callahan met his future wife, Eleanor Knapp, on a blind date in 1933. At that time she was a secretary at Chrysler Motors in Detroit and he was a clerk. They married three years later. In 1950 their daughter Barbara was born. Callahan died in Atlanta in 1999. His wife Eleanor died on February 28, 2012 in a hospice in Atlanta at the age of 95. Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year. He photographed his wife and daughter and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. Even prior to birth, his daughter showed up in photographs of Eleanor's pregnancy. From 1948 to 1953 Eleanor, and sometimes Barbara, were shown out in the landscape as a tiny counterpoint to large expanses of park, skyline or water. He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere—at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments—double and triple exposure, blurs, large and small format film. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white. In 1955 Edward Steichen included his work in The Family of Man, MoMA's popular international touring exhibition. In 1956, he received the Graham Foundation Award, which allowed him to spend a year in France with his family from 1957 to 1958. He settled in Aix-en-Provence, where he took many photographs. In 1994, he selected 130 original prints with the help of the gallery owner Peter MacGill, and brought them together under the name of French Archives, to offer them to the Maison Européenne de la Photographie in Paris. Some of these images were taken in Aix-en-Provence and in the South of France, and are the subject of a temporary exhibition at the Granet Museum in Aix-en-Provence in 2019. Callahan left behind 100,000 negatives and over 10,000 proof prints. The Center for Creative Photography at the University of Arizona maintains his photographic archives. In 2013, Vancouver Art Gallery received a gift of almost 600 Callahan photographs from the Larry and Cookie Rossy Family Foundation.Source: Wikipedia Harry Callahan has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationales de la Photographie in Arles, France in 1977, and received ICP's Master of Photography Infinity Award in 1991. Among the major exhibitions of his work were Photographs of Harry Callahan and Robert Frank (1962), one of the last shows curated by Edward Steichen at the Museum of Modern Art, and retrospectives at the Museum of Modern Art (1976) and at the National Gallery in Washington, DC (1996). Callahan was widely respected in the photography community for his open mind and experimental attitude, qualities reinforced by his association with Moholy-Nagy and the principles of Bauhaus design. He produced work in both formalist and more documentary modes and worked in both black-and-white and color. He used a 35-millimeter and an 8x10 camera and worked with multiple exposures as well as straight images. Such versatility contributed to his success as a teacher, his students ranging widely in style--among them Ray K. Metzker, Emmet Gowin, Kenneth Josephson, and Bill Burke.Source: International Center of Photography
Mona Singh
Mona Singh
India
Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision. She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world. Silent Colors: "Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan. She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
Nikos Economopoulos
Nikos Economopoulos
Greece
1953
Nikos Economopoulos (b.1953) is a Greek photographer known for his photography of the Balkans and of Greece in particular. Born in Kalamata, Economopoulos studied law at university and worked as a journalist. He only started taking photographs at 25 when a friend in Italy showed him a book of the work of Henri Cartier-Bresson, which had an impact that was both instant and lasting. Cartier-Bresson "showed me a new way to see things... What I saw in his work was not only geometry and composition, but a kind of ambiguity." Economopoulos recalls that even then he did not start photography for over two years but instead bought photography books. Then he started photography: "I never photographed sunrises or made souvenir pictures of my children. For about eight or nine years I photographed at weekends and during my holidays, always in a serious way, working from morning to night." As early as 1984, Economopoulos says, "it bothered me ideologically that Greeks and Turks were enemies", and he visited Turkey to take photographs. "No Greek at that time would go to Turkey on holiday", he writes, and his Greek friends were incredulous; but Economopoulos quickly felt at home in Turkey, where the atmosphere "was exactly the same as when I was a kid in the 1960s." (Much later, he would add that Greece and western Turkey had replaced tavernas with McDonald's, while east Turkey still preserved the values of the past.) In 1988, Economopoulos finished work as a journalist and set off on a two-year photographic survey of Greece and Turkey. Nikos Economopoulos was encouraged to join Magnum Photos by the Greek-American photographer Costa Manos, and became an associate member in 1990 and, after his work in Albania, Bulgaria, Romania and the former Yugoslavia, a full member in 1994. His early work won him the 1992 Mother Jones Award for Documentary Photography. In 1993, Frank Viviano, who had first met Economopoulos in Timișoara just after the fall of Nicolae Ceauşescu, wrote that: "Economopoulos says his intention is to document the existence of what he calls the 'Balkan Man': to knit together the skeins of a collective identity in a region whose historical convulsions have made its name a synonym for implacable differences. It would appear to be a fool's errand. But almost anyone who has crossed the madman's web of frontiers and borders that stretches over the Balkans, from Istanbul to the Italian border, is likely to agree with Economopoulos's premise — and to recognize, in his work, the contradictions that sum up Balkan truth." With support from the Little Brothers of the Poor, in 1994 Economopoulos photographed gypsies in Greece, and in 1995–96 lignite miners and Muslims in Greece. In 1997–98 he concentrated on people living on the "Green Line" separating Northern Cyprus, illegal migration across the Albanian–Greek border, and young people in Tokyo; and for the next two years Albanians fleeing Kosovo. He also worked on a commission from the University of the Aegean on storytelling in the region. Economopoulos was dissatisfied with the assignment in Japan, as he felt unable to communicate with people and was just as estranged after three weeks of work as he had been on his arrival. By contrast, he writes that "I prefer to spend my time in my corner of the world, south Europe and west Asia, where I understand the codes and can make connections." This does not mean that the Balkans are an open book to him: Economopoulos has also written of the paradoxes apparent in Albania; and also across the Balkans, where faces can be sad even in wedding parties. Economopoulos's photography of Turkey won him the 2001 Abdi İpekçi Award for promoting friendship between Turkey and Greece. Painfully aware of the bitterness often encouraged in both Greece and Turkey toward the other, he has written appreciatively of the personal welcome given to him by the Turks that he meets. "There are no real differences [between Greeks and Turks]. I love Turkey and I can live there. I can't live in Paris or in London. But Istanbul — I can live there." Economopoulos's photographs have been published in The Guardian, The Independent, Le Monde, Libération, The New York Times, El País, and Die Zeit. He feels that there is no future in photojournalism. There is a loss of quality in photographs in newspapers, and Robert Capa would not take photographs if he were living today. But he concedes that Abbas and James Nachtwey would be among those who disagree.Source: Wikipedia In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean islands storytellers, commissioned by the University of the Aegean. A retrospective of his work titled Economopoulos, Photographer was published in 2002 and later exhibited at the Benaki Museum, Athens. Returning to Turkey, he pursued his long-term personal project, where he received the Abdi Ipektsi award (2001), for peace and friendship between Greek and Turkish people. He has recently turned to the use of color. Currently, he is spending most of his time away from Greece, traveling, teaching and photographing around the world, in the context of his long-term On The Road project.Source: Magnum Photos
Marcel Giró
Marcel Giró
Spain
1913 | † 2011
Marcel Giró was born in Badalona (Spain) in 1913. Since his youth he was fond of mountain trekking and photography. At the beginning of the Spanish Civil War he enlisted as a volunteer on the Republican side. In 1937, disappointed by the constant fighting between the different factions fighting against Franco, he decided to exile. He walked through the Pyrenees to France where he spent nearly two years doing all kinds of jobs. Finally in 1940 he was able to travel to Colombia with two Catalan companions, where they set up a small textile business. He married Palmira Puig, and they moved to Brazil, where they settled. In Brazil Giró resumed his hobby and ended devoted to professional photography. In 1953 he opened his own studio in Sao Paulo, Estúdio Giró. Marcel Giró became one of the leading photographers of the country, an active member of what became known as Escola Paulista. This movement, pioneer of modernist photography in Brazil was born around Foto Cine Club Bandeirante, in the 50s and 60s, with photographers like José Yalenti, Thomaz Farkas, Gertrudes Altschul, Eduardo Salvatore, Chico Albuquerque, Geraldo de Barros, Rubens Teixeira Scavone, Ademar Manarini, German Lorca and Gaspar Gasparian among others. He exhibited his works all over Brazil and around the world. His works are today in collections like the MASP (Sao Paulo Museum of Modern Art), Itaú Cultural (Itaú Bank), the Metropolitan Museum and the MoMA, in New York, among others. Giró was also one of the pioneers of advertising photography in Brazil. In his studio worked young assistants that later become world-renowned as great photographers like Marcio Scavone and JR Duran. After the death of his wife in 1978, he left professional photography and artistic photography. He sold the studio and returned to Catalonia. During the 80's and 90's, he began to paint with a very close criteria to his Photography works of the 50s. He died in Mirasol (Barcelona) in 2011, at age 98. For exhibitions and sales in Europe contact Toni Ricart Giró: toniricart@marcelgiro.com For exhibitions and sales in rest of the world Isabel Amado: isabel@isabelamado.com.br
Christer Björkman
Christer Björkman
Sweden
1959
Christer Björkman aimed to become a photographer in his early teens but eventually chose another career. Now, 40 years later he has taken up photography again. His photos have been published in several exhibitions and magazines. He works on various projects, many of which involve portraits of people. He collaborates with photographers Kitty de Jong (Amsterdam) and Jane Dee (Glasgow) in the photography collective 'Three Cities Photography'. Statement After a break of 40+ years, I took up photography again some years ago. The feeling of wanting to catch up is strong – I have so many things I want to try, so many projects I would like to complete. That's why my photography tends to be ’all over the place’. I enjoy doing street photography, portraitures, architecture, abstract, including nature, photography. I am drawn to photographing ’the ordinary’, which has become a common theme in many of my projects. Therefore, the projects often tend to be documentary. What drives me to take photographs is that it makes me feel good and that I feel satisfied with what I achieve.
Joan Haseltine
Joan Haseltine
United States
Joan Haseltine is a lens-based artist residing in Big Timber, MT and Los Angeles. Born in Chicago, IL, her work explores alienation and loneliness through a feminine gaze, using a cinematic approach. She received a BS in Accounting from Florida State University. She comes to photography after motherhood and a career on Wall Street. Her first camera was purchased in 2015. She has studied at the Los Angeles Center of Photography and The International Center of Photography. The Girl Who Escaped and Other Stories The Girl Who Escaped and Other Stories is a staged narrative of alienated women whose outwardly immaculate appearance disguise their vulnerability, insecurity and possible treachery. As women, we confine ourselves and limit our mobility in our attempt to be attractive. We become prey. I seek to make the viewer a complicit voyeur to these lonely women.
Vincent Peal
Vincent Peal
Belgium
1976
Vincent PEAL was born in 1976 in Brussels - Belgium. After a music career with the band EMMA PEAL, signed to the international PIAS - label, Vincent Peal now essentially dedicates his energies to the visual realm. He produced a number of super 8 video clips in NY, Londo n, Berlin...and made a documentary about the outcast living in Brussels. Some of his pictures of the Bombay slums and the problems surrounding the pollution on West Africa's beaches were selected for the World Expo 2010 in Shanghai in the "World Water Pavilion". In 2015 he released a book "Brussels Open City" a portrait of the inhabitants of the capital of Belgium. In 2018, with the same publisher "Les Editions de Juillet" based in France he realized his second photography book "World News" about people he met during his different journey around the world. Today on the street I saw dozens of faces, each one telling a story, amazing stories, rugged, beautiful, funny and sometimes complicated, but always in those faces there is another universe to discover.
F. Bessma Rhea
F. Bessma Rhea
United States
2002
F. Bessma Rhea is her father’s second-born daughter (first-born son), her mother’s last line of defense at the dinner table, and her sister’s favorite fun house mirror. She is the first person to speak in a crowded elevator and the last person to get a word in edgewise. Bessma has always been a big talker, but her preferred method of communication is using the visual language of photography. F. Bessma Rhea graduated from Montana State University in 2025, achieving a Bachelor of Fine Arts in Integrated Lens Based Media from the School of Film and Photography. Although Bessma spent the last four and a half years in Bozeman, Montana, Bessma was born, raised, and is now currently residing in San Diego, California. Her photographic journey has encompassed an exploration of various mediums, ranging from silver gelatin prints and digital flash photography, to alternative process and chromogenic printing in the color darkroom. From this exploration she learned to cultivate her aesthetic, her relationship to photography, and to refine and utilize her voice. In her own reflection, she sees herself as a detective and a scientist, but to the outside world, she is an artist and a photographer. With her camera she will continue to investigate and theorize about the world she’s a part of, and where she fits in. But in the moments she’s not photographing, she enjoys filthy explicit music – and classic literature. Gutter Dutchess: I organize my environment in the frame and listen to when the world tells me I am a woman. I consider questions like, “How do I photograph a homewrecker?” and “What is inherently aggressive about a haircut?”. I desperately follow curiosity like the north star. GUTTER DUCHESS is a punk portrait series represented by twenty color film images of friends, best friends, my sister, my mother, myself, and moments in between. From doctor’s appointments to dumpster diving, I comprehend a women’s world through a lens that is candid, impulsive, crude, jovial, contrite, and desperate to reject assimilation to any one characteristic. As I photograph, I find myself constantly fighting with my images because I am a pessimistic, hotheaded, angry little person. However, in these photographs, I am continuously confronted with an abundance of love from the women in my life, who are proof of the untamable female spirit. This work is messy, unglamorous, and a raw exploration of womanhood. Favoring emotional truth over aesthetic polish, my series sprinkles clues of the fallacy of attempting feminine definition. Artist Philosophy Photography is a method of comprehension, I want to understand what is here. I have always been intrigued by the surreal but perhaps that comes from a bigger desire to turn the psyche outward, to make the invisible visible. I am driven by the ability to push the boundaries of sensation through the uncanny, visceral, and provocative. Visual arts is my language to answer life’s biggest questions. Every series is a conversation and if photography is to speak then a camera is the tongue. I have completely fallen in love with the medium, and without the tongue there is no voice.
Robert Bergman
Robert Bergman
United States
1944
Over more than 50 years, largely outside the mainstream, Robert Bergman has pursued a vision of advancing psychological and philosophical depth in photography and of transcending the boundaries between painting and photography. In Toni Morrison's words in her introduction to his classic 1998 book A Kind of Rapture, his color portraits are "... a master template of the singularity, the community, and the unextinguishable sacredness of the human race." In his Epilogue to that book, the pre-eminent art historian, Professor Meyer Schapiro, wrote, "... his recent color portraits ... have no forerunners in photography. ... he has introduced the processes of unification, as in painting, with the search for harmony, movement, variety and distinction within it, beyond what I have ever seen in a photograph.... His finest works bring to mind some of the greatest painted portraits. ... truly profound works of art." Placing Bergman in the context of other, better known master American photographers, John Yau, poet, critic, and author of The United States of Jasper Johns, has said, "Diane Arbus, Robert Frank, Garry Winogrand, and William Eggleston. ...he is certainly in their league. ... One day Bergman will get credit for the richness of his photographs, the way they transcend image." Robert Bergman is currently producing a limited edition KEY SET of new master prints of 150-200 photographs that, together with the 51 A Kind of Rapture prints, will reveal the organic unity, the arc, of his creative journey: black & white street work of people and cityscapes; black & white portraits in nursing homes; black & white abstracts; hundreds of color portraits on the streets of American cities; and most recently, large-scale color abstracts. Bergman has had solo exhibitions at The National Gallery of Art in Washington, DC, MoMA/P.S.1 in New York, Minneapolis Institute of Arts, Yossi Milo Gallery in New York, and Michael Hoppen Contemporary in London. Group shows include the Amon Carter Museum of American Art, MoMA, the Ackland Art Museum in Chapel Hill, North Carolina, and the "Come Together: Surviving Sandy" exhibition in Brooklyn, NY. In addition to the collections of the Hill Art Foundation and Agnes Gund, President Emerita, MoMA, and numerous other individual's collections, Robert Bergman's work is in the permanent collections of the Amon Carter Museum of American Art, which recently acquired a vintage set of the 51 A Kind of Rapture color portraits, the Cleveland Museum, the Houston Museum of Fine Arts, the Minneapolis Institute of Arts, The National Gallery of Art, the 21C Museum in Louisville, KY. His work has also been highlighted in books, magazines, and newspapers in the United States, Great Britain, France, and Germany as well as on National Public Radio and the Public Broadcasting System. He received the Pollock-Krasner Foundation Grant in 2017.
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All About Photo Awards 2026
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