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Chris Steele-Perkins
Chris Steele-Perkins
Chris Steele-Perkins

Chris Steele-Perkins

Country: United Kingdom
Birth: 1947

At the age of two, Chris Steele-Perkins moved to England from Burma with his father. He went to school at Christ's Hospital. At the University of Newcastle-upon-Tyne, he studied psychology and worked for the student newspaper; he graduated with honors in 1970 and started to work as a freelance photographer, moving to London in 1971. Apart from a trip to Bangladesh in 1973, he worked mainly in Britain in areas concerned with urban poverty and subcultures. In 1975 he worked with EXIT, a collective dealing with social problems in British cities. This involvement culminated in the book Survival Programmes in 1982. He joined the Paris-based Viva agency in 1976. In 1979 he published his first solo book, The Teds; he also edited the Arts Council of Great Britain's book, About 70 Photographs. Steele-Perkins joined Magnum Photos in 1979 and soon began working extensively in the developing world, in particular in Africa, Central America and Lebanon, as well as continuing to take photographs in Britain: The Pleasure Principle explores Britain in the 1980s. In 1992 he published Afghanistan, the result of four trips over four years. After marrying his second wife, Miyako Yamada, he embarked on a long-term photographic exploration of Japan, publishing Fuji in 2000. A highly personal diary of 2001, Echoes, was published in 2003, and the second of his Japanese books, Tokyo Love Hello, in March 2007. He continues to work in Britain, documenting rural life in County Durham, which was published as Northern Exposures in 2007. In 2009 he published a collection of work from 40 years of photographing England - England, My England. A new book, on British centenarians, Fading Light will be published at the end of July. Steele-Perkins has two sons, Cedric, born 16th November 1990, and Cameron, born 18th June 1992. With his marriage to Miyako Yamada he has a stepson, Daisuke and a grand-daughter, Momoe.
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Liu Bolin
China
1973
Liu Bolin is an artist born in China’s Shandong province in 1973, and he earned his Bachelor of Fine Arts from the Shandong College of Arts in 1995 and his Master of Fine Arts from the Central Academy of Fine Arts in Beijing in 2001. His work has been exhibited in museums around the world. Also known as "The Invisible Man", Liu Bolin's most popular works are from his "Hiding in the City" series; photographic works that began as performance art in 2005. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Rencontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Galerie Paris-Beijing in Paris and Brussels (2013), Boxart Gallery in Verona (2008), Forma Foundation for Photography in Milan (2010). To celebrate US President Obama's visit to China, he made an effigy of Obama in his honor. He now lives and works in Beijing, China. Source: Wikipedia Born in 1973 in the northern province of Shandong, Liu Bolin trained at the prestigious Central Academy of Fine Arts, a student of the renowned artist Sui Jianguo, who mentored him at the beginning of his career. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Liu Bolin is best known for his series of performance photography Hiding in the City. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Recontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Boxart Gallery in Verona (2008/2010). He now lives and works in Beijing. Source: Box Art Gallery Better known as The Invisible Man in media circles. He discusses the social concerns of his home country through his artistic practice, most prominently through his ‘camouflage’ installations. Traversing mediums such as performance, photography, Liu Bolin dissects the tense relationship between the individual and society by ‘disappearing’ into environments which are sites of contention and criticism. His “Hiding in the City” series has been displayed in numerous museums and institutions across the globe. Inspired by his powerful visual messages, artists and institutions and organizations such The Louvre (Paris, France), Harper’s Bazaar Magazine, JR, Carlos Cruz-Diez, Jon Bon Jovi and Kenny Scharf have invited Liu Bolin to collaborate on creative projects.Source: Liu Bolin Studio
Alamsyah Rauf
Indonesia
1982
Alamsyah Rauf was born in a small district in south sulawesi precisely in Kab.Sinjai, maybe that's why this photographer is less known among photographers in Indonesia but his work has won dozens of world-class photo contest. After graduating high school, this man married in 2001 on the will of his parents, this makes him unable to continue college. After married Alamsyah worked in his parents' photo studio. Alamsyah Learning DSLR cameras just look at the camera manual and learn self-taught to techniques of composition, tone, and lighting via internet. In 2004 Alamsyah Rauf set up his own Photo Studio and hire 3 photographers. As a freelance photographer, Alamsyah takes part in various photography communities, photo exhibitions and participate in various national and international photo contest. Awards: 2nd Place (Best of Show) 2012 Photoshare Photo Contest (Baltimore USA) 2nd Price Sony WPO 2013 category National Award Best in Action at Australian Art Sales (Australia) FIAP GOLD MEDAL in Photo Salon Soul 2013 (Macedonia) FIAP Silver Medal 4th International Photo Exhibition Photo Focus 2013 (Russia) PAM Gold Medal at 2nd International exhibition of art photography SOUL 2014 (Macedonia) Second Winner General category HIPA 2014 Dubai 1st Place Portrait at 7th Annual Masters Cup 2014 (Beverly Hills USA) 1st Place (Portrait category) the 7th Annual International Color Awards 2014 FIAP Gold Medal at 38th EX HIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia SALON praise 38th EXHIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia FIAP Gold medal, FIAP Silver medal, PSA Gold Medal, PSA Ribbon in 2nd Cairo Int. Photographic Art Exhibition - CIPAE 2014 Awards (Cairo, Egypt) Ozone zone Gold Medal (Happiness), FIAP Ribbon (monochrome) Ozone zone International Photo Contest 2014 (Canada) RPS Gold Medal, 2nd Photovivo Singapore International Photography Award (PIPA) 2014 FIAP Silver Medal (Open Color) 1St GIFSAD INTERNATIONAL PHOTO CONTEST 2014 (TURKEY) Champaign 1 colorful alfaink photo contest nusantara 2015. "Grand Prize" Winner at The Shutterview International Photography Competition 2015 (Australia ) 2nd Place (people category) Fine Art Photography Award 2015 Grand Winner Xposure International photo contest 2016 (Sharjah UAE) First Place Proify Annual International Photography Awards 2016 Merit Medal Recipient "THE CHALLENGE" HIPA 2017 UAE 5th Place All About Photo Awards 2018
Marina Lauar
Brazil
1993
Marina Lauar is a Brazilian visual artist. She develops her artwork in Fine Art Photography, where she uses a pictorial language to construct of her narratives. As a plural artist she appropriates elements that expand formal photography and allow the mix of printed photography with other gestures and techniques. She finds in the portrait an appropriate field for her discussions and critical reflection, which she builds through minimalist and potent images. Her research currently circulates between the deconstruction of already rooted stereotypes and her own self-perception. About Plastic Portraits The project was born during my renaissance as an artist. After some time feeling completely blocked, hands, feet, head, and heart tied, I found myself in a huge need to express my concerns through photography. Fine Art Photography is a fertile field that allows the cultivation of reflections and dialogues, so I chose it as language, to be the home of my yearnings. I create portraits aiming to deconstruct beliefs, sometimes using satire, sometimes critical reflections and their depths, sometimes pure intimacy, things that will never be said. The atmosphere is reaffirmed by the way I work with the light. I seek minimalism so that only a key element fulfils its role as a critical factor in the image. My principal goal with this project is to traverse. Conceive feelings, make the feeling palpable. Build next to portrayed the script that will guide us in the production of the pictures, in the choice of the element, so that everything there in that image has great strength and meaning to the portrayed. To emanate with my eyes feelings that overflow in the other.
Jennifer Shaw
United States
Jennifer Shaw earned a BFA in photography at the Rhode Island School of Design. Her photographs have been featured in B&W, American Photo, Shots, Light Leaks, The Sun, and Oxford American magazines, online publications including NPR, Fraction Magazine, One One Thousand, Lenscratch, and Brain Pickings, and are included in two recent monographs: Hurricane Story (Chin Music Press, 2011), and Nature/Nurture(North Light Press, 2012). Her work is exhibited widely and held in collections, including the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Museum of Fine Arts Houston. Shaw is based in New Orleans, Louisiana where she teaches the disappearing art of darkroom photography at the Louise S. McGehee School in addition to chasing after two young sons. Statement: Photography is always an act of discovery for me. It’s about the joy of seeing and the mysterious convergence of light, texture and form as translated onto film. A sense of wonder and a reverence for beauty are motivating factors that lead me to document and interpret the world through the camera’s lens. I attempt to create images that transcend literal description, reaching beyond the physical surface of the subject to resonate with viewers on an emotional level. Most of my work is created using toy cameras. These simple plastic devices lend a whimsical spontaneity to the act of photographing. Although they offer little control in making exposures, their quirks can sometimes result in magic. I print my black and white images in the darkroom on traditional silver paper, then split-tone them to add depth and color. This toning method can be unpredictable, and like every other part of my process, owes a bit to serendipity. The color work is shot on film, then scanned to make archival pigment prints on Hahnemuhle Rag 308 paper.
Scott M. Fincher
United States
1946
So what differentiates a portrait of a person from a picture of an object? Essentially nothing. A photographer's purpose is revelation. In the street or in the corporate suite the imperative is to take surfaces into the interior so that the viewer comes to understand something about what has been presented. This could be an aspect of personality or the structure of a design. In short, one can say no more than one can see. Early in my career, I used to fantasize that I could be a Beethoven of photography. The idea contradicts the central principle of the medium. What distinguishes photography from the other arts is time. Unlike music, which takes a single idea and expands it, photography interrupts the continuum and digests it into an exquisite moment where understanding, composition and action intersect. All this is expressed succinctly in poet e.e. cummings's introduction to his volume "Is Five": "I am abnormally fond of that precision which creates movement." In my eyes, photography also adheres to Francis Bacon's maxim, "The contemplation of things as they are without error, without confusion, without substitution or imposture is in itself a nobler thing than a whole harvest of inventions." That is why I love both nature and the street and quest for the image that sits on the cusp of the real and surreal. For the most part, I do not manipulate the images in the digital "darkroom" any more than I would have were I using techniques of the old "wet" darkrooms. Mostly, I adjust luminosity. My background is print journalism. I edited photography and foreign and national news for the Chicago Tribune and Chicago Sun-Times for many years before deciding to rededicate myself to my passion. It has been, as the great Edward Steichen once said about the photographic act, "Incredibly easy and impossibly difficult." Nevertheless, the results have been good, and I have won national, international and art fair awards since my return to photography in 2006. My images are in collections all over the U.S. and in Germany, Poland, Denmark and Venezuela. I hold a bachelor's in English from Northwestern University, Evanston, Ill., and have studied photography in too many workshops to enumerate. I live in Chicago.
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
Nobuyoshi Araki
Nobuyoshi Araki is a Japanese photographer and contemporary artist. He is also known by the nickname Arākī. Araki was born in Tokyo, studied photography during his college years and then went to work at the advertising agency Dentsu, where he met his future wife, the essayist Yōko Araki. After they were married, Araki published a book of pictures of his wife taken during their honeymoon titled Sentimental Journey. She died in 1990. Pictures taken during her last days were published in a book titled Winter Journey. Having published over 350 books by 2005, and still more every year, Araki is considered one of the most prolific artists alive or dead in Japan and around the world. Many of his photographs are erotic; some have been called pornographic. Among his photography books are Sentimental Journey (1971, but later reissued), Tokyo Lucky Hole (1985), and Shino. He also contributed photography to the Sunrise anime series Brain Powerd. In 1981, Araki directed High School Girl Fake Diary a Roman Porno film for Nikkatsu studio. The film proved to be a disappointment both to Araki's fans, and to fans of the pink film genre. The Icelandic musician Björk is an admirer of Araki's work, and served as one of his models. At her request he photographed the cover and inner sleeve pages of her 1997 remix album, Telegram. More recently, he has photographed pop singer Lady Gaga. Araki's life and work were the subject of Travis Klose's 2005 documentary film Arakimentari. His works are held in numerous museum collections including the Tate and the San Francisco Museum of Modern Art. Source: Wikipedia Nobuyoshi Araki is a prolific photographer who has produced thousands of photographs over the course of his career. He became famous for “Un Voyage Sentimental” (1971), a series of photos depicting both banal and deeply intimate scenes of his wife during their honeymoon. A number of his works feature young women in sexualized situations: “Kinbaku”, a series from 1979, features 101 photographs of women in rope bondage. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. More recently, Araki has been working on a series titled “Faces of Japan” (2009-) in which the artist photographs 500 to 1,000 people in each of Japan’s prefectures. Source: Artsy Nobuyoshi Araki is a contemporary Japanese photographer known both for his prolific output and his erotic imagery. While sometimes focusing on quotidian subject matter, including flowers or street scenes, it is Araki’s sexual imagery that has elicited controversy and fascination. Similar to the work of Helmut Newton, Araki often addresses subversive themes—such as Japanese bondage kinbaku—in his provocative depictions of female nudes. “Women? Well, they are gods. They will always fascinate me. As for rope, I always have it with me. Even when I forget my film, the rope is always in my bag,” he said of his subject matter. “Since I can't tie their hearts up, I tie their bodies up instead.” Born on May 25, 1940 in Tokyo, Japan, he studied photography at Chiba University, before pursuing a career as a commercial photographer upon his graduation in 1963. In 1970, while working as a freelance photographer, he began to publish numerous photography books, including Sentimental Journey (1971), a visual narrative of the honeymoon with his wife Aoki Yoko. Araki currently resides in Tokyo, Japan, a city that has served as a constant source of inspiration throughout his career. Today, his works are held in the collections of the Art Institute of Chicago, the Goetz Collection in Munich, and the San Francisco Museum of Modern Art, among others. Source: Artnet
Gilles Nicolet
France
1960
I am a self-taught photographer who spent 35 years living and working in Africa, with long stays in Somalia, West Africa and Tanzania. I started out as an agricultural engineer but soon switched to photography in order to follow an old passion. I have since shot numerous stories for all sorts of magazines, including the Sunday Times Magazine, National Geographic Magazine, Geo, the Smithsonian and Paris-Match. I have a special interest in anthropology and ethnography, something that - I hope - has helped me capture the essence of my subjects. In the past most of my stories where about rare traditions that somehow linked man and wildlife, but Africa has changed a lot in the last few decades and unfortunately most of these traditions have now disappeared. My recent work has therefore been more personal and contemplative and less focused on narrative picture stories meant for magazines. In fact, today my interest lies in the convergence between art and documentary photography. I have also moved away from color photography and now only shoot in black and white. My work has received several major awards, including a World Press Photo Award and a Fuji Award. My latest project on the Swahili Coast also obtained the following recognitions: 2017 HIPA Hamdan International Photography Awards - 2nd Prize, Portfolio Category 2017 Elliott Erwitt Havana Fellowship - Nominee 2017 Seventh Annual Exposure Photography Awards - Winner 2017 IPA International Photography Awards - 2nd Prize, People/Culture Category 2017 Meitar Award - Nominee 2017 Monochrome Photography Awards - Photojournalism/Professional - Two Honorable Mentions 2017 Monochrome Photography Awards - People/Professional - Honorable Mention 2018 CAP Contemporary African Photography Prize - Finalist 2018 SIPA Contest - Honorable Mention 2019 SOPHOT Award - Winner This work on the Swahili Coast is featured in "Swahili", a book released by Contrejour Publishers in May 2019 (available on amazon.fr and amazon.co.uk). Six degrees south The Zanzibar archipelago, an highly evocative name even for those who are quite unable to locate it on a map, lies six degrees south of the Equator. It is also the exact geographical center of the Swahili Coast, a unique physical, historical and cultural entity running from Southern Somalia to Mozambique, which first grew in the 10th century through trade with the Arab world, India and China. Gold, coconut, ebony, mangrove wood, sisal, myrrh and the infamous slave trade helped make the wealth of this region, slowly shaping it and giving it its unique present character. For a thousand years now, wooden dhows have sailed these lonely shores, with their characteristic white cotton sails, using the monsoon winds to help traders move goods between Africa and Arabia. And for a thousand years too, fishermen have ploughed these rich seas for their bounty of fish, contributing with the traders to the emergence of rich city-ports like Stone Town or Mombasa. But all of this is changing now. A combination of overfishing by both local and foreign ships, population increase, changes in weather patterns as well as the recent discovery of huge gas fields in the region, is threatening this fragile equilibrium. The fishing communities that occupy these shores are particularly at risk, and it could be that we are now witnessing the last of fishing and sailing traditions that had remained largely unchanged since Ibn Battuta, the famous 12th Century Arab explorer, first described them in his travel memoirs. With this recent work I have tried to testify to the unique beauty and timelessness of the Swahili Coast, and to record it for generations to come. It is a personal, melancholic, sometimes dreamy vision of a place and a culture that are very dear to my heart but which, I now realise, may soon disappear.
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