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Marco Sanges
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Marco Sanges
Marco Sanges

Marco Sanges

Country: Italian
Birth: 1970

SANGES is an imaginative and innovative photographer who has exhibited worldwide and published extensively. Clients and art projects include: Agent Provocateur, Cutler & Gross, Vogue, National Opera Munich,Dolce & Gabbana National Opera Stuttgart, Dario Argento, Stash Klossowski de Rola and Gunther Von Hagens' Body World.
Academy of Art New York.

Magazines include: Sunday Telegraph, Silver Shotz, Photo, All About Photos, Musee, Katalog, Lomography, Normal, Elle, Esquire, The Times, Independent, Fault , Aesthetica , Shoot, Harpers Bazar, L’œil De la Photographie. Wonderland

Some of his short films include : Sugar, Meet me in Winter, Circumstances, Music Sound Machine, Sonnambula, Wunderkamera.

His books include : Circumstances, Venus, Wild, and Erotic Photography, Love Lust Desire, Dolce & Gabbana Animal, National Opera Munich, The Cutting Room. Mefistofele Opera Stuttgart by Arrigo Boito.

A multi-disciplinary artist, his film 'Circumstances' won Best Art Film at the Portobello Film Festival in London and Best Experimental Film at the Open Cinema Film Festival, St. Petersburg, Russia.

Sanges' work is exhibited in the Virginia Museum of Fine Arts permanent collection and at the Center for Creative Photography in Arizona - USA

His distinctive photographs have been shown at major contemporary photography festivals including Helsinki Photo Festival and Batumi PhotoDays in Georgia and the Lodz Photofestiwal in Poland.
One of his latest project 'Wunderkamera' has been exhibited at the Hospital Club in London and at the Chateau de Dampierre (France) and will be exhibited in the Gallerie de Buci in Paris February 2020.

Website

www.sangesstudio.com

 

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More Great Photographers To Discover

Filip Dujardin
Filip Dujardin
Belgium
1971
Filip Dujardin is fine art and architectural photographer based in Belgium. Dujardin’s Fictions is a series of fictional structures created using a digital collaging technique from photographs of real buildings in and around Ghent, Belgium. Some of his architectural creations are structurally impossible or implausible. Some of the most intriguing buildings seem perfectly ordinary at first glance, revealing their fictional nature as the viewer registers missing or incongruous details.From www.artspace.comPhotographer Filip Dujardin designs architectural wonders in the digital realm. The Belgian artist began as a professional architectural photographer before turning to design in 2007, creating virtual buildings using Google SketchUp—a 3D modeling tool—and Photoshop. At first glance, Dujardin’s photographs of buildings seem almost ordinary, though highly modern, only revealing their structural implausibility upon close examination. He ignores the laws of physics, defying gravity and material, to create exquisite architectural compositions. Source: www.featureshoot.com
Iolo Adams
Iolo Adams
Australia/United Kingdom
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I Grew up in Bournemouth until I was 8 years old, when I moved to Blenheim, New Zealand and went through college and sparked my interest in photography, I've recently moved back to England in search of work in photography and more exposure and connections in the industry.iolo.adams@hotmail.com Discover Iolo Adams' Interview
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United States
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Joshua Lutz is an American artist working with large-format photography and with video. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004. In 2008 Lutz's first book, Meadowlands, was published with powerHouse Books. In essayist Robert Sullivan's introduction to the book he describes the Meadowlands as “… that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” The New Yorker wrote "Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld into its current era of urban sprawl.” In the fall of 2008 Lutz had a solo exhibition for the Meadowlands series at ClampArt Gallery in New York City. 2013 saw the release of Hesitating Beauty. A series of photographs revealing a different side of Lutz's photography, it tells the story of his mother. Mind the Gap (2018) is "an exploration through photographs and text of how our society and the things we experience affect our mental health".Source: Wikipedia Joshua Lutz‘s large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz’s photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am Dam series, Lutz’s photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay. Meadowlands, Lutz’s debut monograph, was published by powerHouse Books in 2008, and has received considerable acclaim including being named Village Voice “Best in Show,” and Photo District News and American Photo‘s “Best Photography Books of 2008.” The recipient of the Tierney Fellowship, Best Editorial awards from Photo District News and Communication Arts, Lutz was also named one of Photo District News‘ top 30 emerging photographers. His work has been featured in The New Yorker, Harper’s, The New York Magazine, Newsweek, ArtNews, and Time. Lutz received his B.F.A. from Bard College in 1997, and his M.F.A. from Bard College at the International Center of Photography in 2005. He is currently on the faculty at the International Center of Photography in New York.Source: Robert Koch Gallery
Manuello Paganelli
Manuello Paganelli
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I was born in the Dominican Republic and growing up in the 1960s I watched my parents devote time to help others, exposing me to the inequality of wealth, education, and the lack of mind and body wellness prevalent on our small island. It was hard for me to understand why poor children would be on the streets instead of in a warmer, safer place. I saw school-age boys like me but barefoot and shining the fancy shoes of businessmen. Scruffy kids with open hands asking for pennies. Running, begging for anything to eat, fending for themselves, and surviving on their wits alone. None of my parents' words made it better, or helped me understand what led to my country's socio-economic crisis. With my parents' humanistic influence, I figured I would become an attorney like my father or a missionary doctor. In 1972, I arrived in the US for high school without speaking any English. By my last year of college in Tennessee, I lost all desire to become a doctor, My father stopped supporting me. I found work on the assembly lines and loading docks of the local McKee Baking Company. In 1982 I bought my first camera as a way to forget my doomed career. While browsing in a bookstore I learned about a man named Ansel Adams. A few glances at Adams' powerful black-and-white landscapes left me hypnotized. Within days, I was on the telephone with Ansel. It was an innocent call but that first conversation with Ansel Adams led to many more, until we established a warm mentoring relationship that lasted until he passed away in 1984. My break into professional photography began when I was hired as a staff photographer for The Chattanooga Times in 1982. While that photojournalism experience was invaluable, I soon left for the Washington, DC area, where I began a freelance editorial photography career and from there migrated into humanistic photography. In 1989, I began traveling to Cuba to find long-lost relatives. There I learned about the social issues of the island and the survival spirit of the Cuban people, becoming increasingly aware of the socio-political climate I continued to travel there. My documentary photos from my Cuban project culminated in an exhibition in 1995, where a Washington Post columnist wrote: "Paganelli's Cuban photographs are a brilliant window on a land and people too long hidden from North American eyes... Paganelli brings an artist's eyes and a native son's sensibility to his superb photographs." My current essay project, which started in 1994, explores Black Cowboys across the USA, examining cultural and regional influences within this well developed sub-culture. Statement I never planned on becoming a professional photographer. I always thought I'd be a doctor, but during my senior year in college I began to have doubts about a career in medicine. It was around that time that I bought a Canon camera. Despite years in the business, I still possess that same excitement for the craft that gripped me the first time I picked up a camera. And, too, I maintain a passion for sharing my subjects' stories through documentary photography. My influences are the things that my eyes capture from the moment I get up, see, sense and experience and everything else beyond that with the elements of sounds , shadows and light. But I've always admired the work of Walker Evans, Henry Cartier Bresson and most notably the works of W.Eugene Smith and Robert Frank. I also love the landscape of Ansel Adams and the beautiful magical touches of the portraits done by Irving Penn.
Aurélien Bayo
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Mark Cohen
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United States
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Ernie Luppi
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San Francisco native Ernie Luppi became involved with photography in 1973 when he started using his mother's Instamatic 126 camera that he and his brothers had given to her as a Christmas gift the previous year. During this time, Ernie was attending the City College of San Francisco and decided to switch his major to photography. The CCSF Photography Department offered one of the finest programs in the area and it helped Ernie unearth the creativity within him. To this day, Ernie is an avid black and white film and darkroom enthusiast. In 1975, Ernie graduated from CCSF with an Associate of Science degree in Photography and has spent the past 39 years in retail photography sales, first working at Adolph Gasser, Inc. for 23 years, followed by 16 years at Keeble and Shuchat in their respective film and darkroom supply departments. Ernie's photographic vision is varied. It ranges from travel, portraiture, street, and the urban landscape. Ernie has often quoted, “I am a jack of all trades and a master of none,” but really he is just curious about everything that he sees through his camera lens. An association with RayKo Photo Center was established in June of 1992 when Ernie had a solo exhibition of photographs, all of them gelatin silver prints, that he had taken during trips to Italy in 1981 and 1991. For the past decade, with the guidance of gallery director Ann Jastrab, Ernie has been a member of RayKo's Photographers Marketplace. Ernie's images have also been selected for RayKo exhibitions such as the documentary show "With Our Own Eyes", "The Perimeter of the World: Contemporary Travel Photography", as well as several Plastic Camera Show exhibits. He continues to photograph daily and can usually be found in his darkroom.
Achille Quinet
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France
1831 | † 1900
Born in 1831, Achille Quinet was a successful photographer who operated a studio at 320 rue St Honoré, Paris from about 1869 to 1879. Although Quinet made photographs of the moments and architecture of Paris as well as a series of views of Italy, he is best known for his landscape, animals and figure studies, many of which were made in or around the town of Barbizon and the forest of Fontainebleau. These photographs, which were likely intended as aids to painters, are generally albumen prints mounted on blue card stock, with the stamp “Étude d’Après Nature’ as well as a red rubber stamp of his name. Some images are mounted on white stock with the blind stamp “A le. Quinet fils.” A member of the Sociéte Française de Photographie from 1876 to 1894, Quinet exhibited his work at the universal exhibition of 1878. Most of Quinet’s work is housed at the Bibliothèque Nationale, Paris, where he deposited his Etudes at the Depôt Légal in 1868, 1875, and 1877. Quinet’s work is occasionally confused with that of his contemporary, Constant-Alexandre Famin. While the pair made photographs with similar subject matter, general stylistic differences distinguish the two. It is possible that Quinet, acting as a publisher or dis- tributor, placed his own stamp on works made by Famin. After 1879, Quinet moved to Cély, near the Forest of Fontainebleau, where he died in 1900
Yuko Kamada
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Japan
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