doc! photo magazine #32 is waiting for your eyes!

doc! photo magazine #32. Cover photo: Stephen Shames

doc! photo magazine #32. Cover photo: Stephen Shames

Yes, doc! photo magazine #32 has been published! This edition covers important issues from the USA, Turkey, Syria, Poland, Brazil, South Africa, Iran, and Ireland.

The doc! #32’s main photographer is Stephen Shames, an American photographer focusing on social issues and their impact on children, author of eight monographs, named by PBS a one of the photographers whose work promotes social change.


Other stories featured in doc! #32 are:

The magazine also contains the fourth part of the DEBUTS 2014’s laureates presentation, including pictures by Marcin Bańdo, Marta Cieślikowska, Marlena Jabłońska, and Jerzy Piątek.

Go to our doc! store and buy the issue for just EUR 2.20!

Have a nice visual reading!

Photo cover: Stephen Shames

Niemen @ NEY Gallery&Prints

© Chris Niedenthal

© Chris Niedenthal

„I met Czesław during his first stay in New York at the beginning of the 1970s. Urszula Dudziak and Michał Urbaniak just brought him to my place for dinner. He was talking a lot about the „Lilacs and Champagne” long play which he planned to record with Columbia Records. He was truly excited about that project. One day I invited him to my studio where I took photos for the potential album cover. We started liking each other from the moment we met and tried to continue our meetings in Warsaw as often as it was possible. He was a truly amazing man with an outgoing personality. He was also an outstanding musician. Unfortunately, he left us too early.“ (Ryszard Horowitz)

NEY Gallery&Prints opens its new exhibition space with extraordinary exhibition dedicated to the late, one of the Poland’s greatest composers, vocalists, multi-instrumentalists – Czesław Niemen. The exhibition will consist of a collection of works by artists who had the pleasure to meet Niemen and capture his personality through photos. The visitors will have a chance to see photographs taken by Niemen’s wife – Małgorzata and works by Krzysztof Gierałtowski, Ryszard Horowitz, Marek Karewicz, Chris Niedenthal (doc! #6), Lidia Popiel, and Andrzej Świetlik. Each artist will present Czesław Niemen in a unique but characteristic way. The exhibited images were taken in New York City and Warsaw, during both – the specially organised sessions and private meetings of photographers with the musician.

„I think I met Czesław perhaps as early as in 1973 when I just arrived in Poland. Unfortunately, I rarely photographed him at work; more often in private situations – but what private is private! I did not want to use our friendship to take more photos of him; I thought it was not polite to impose oneself.“ (Chris Niedenthal)

Krzysztof Gierałtowski, Ryszard Horowitz, Marek Karewicz, Chris Niedenthal, Małgorzata Niemen, Lidia Popiel, Andrzej Świetlik – Niemen
Ney Gallery&Prints (5 Spokojna St., Warsaw, Poland). The exhibition will be open to the public between April 12 and May 17, 2015. Closing reception: May 17 at 5:00 PM.

More info @ NEY Gallery&Prints & Facebook

The exhibition is organised under doc! photo magazine patronage.

Krzysztof Miller @ DCF ‘Roman House’

Camp of Catholic refugees from areas of religious struggles. Juba (South Sudan), November 22, 2006. © Krzysztof Miller

Camp of Catholic refugees from areas of religious struggles.
Juba (South Sudan), November 22, 2006. © Krzysztof Miller

Cartier Bresson believed that the decisive moment – when we press the shutter – is the most important factor in the photography. But when Krzysztof Miller pressed the shutter, there was no decisive moment. If dying of starvation children from the Hutu tribe or a Russian soldier sitting on a combat transporter and celebrating with champagne a victory in front of the Palace of Chechen President Dzhokhar Dudayev, or a drunk cyclist on the Warsaw-Siedlce road are decisive moments? Surely not but they really happened, and Miller was there and took pictures of them. Just in those indecisive about anything moments which never should have happened. But they happened. Neither they have changed anything, nor have decided about anything. The dying of hunger frail-bodied Hutu children haven’t put on weight. The drunk cyclist kept on riding along the busy road. And the Russian soldiers didn’t stop on the offensive in front of the Dudayev’s Palace.

Miller is not and does not want to be Bresson. There is no great philosophy in his photography. It is not fully clear, who is Miller. Nor we know what his photographs are. It could be argued – the testimony, illustration, document. Probably all of them. After having visited the exhibition, which is a summary of his achievements, everyone will find their own opinion.

Krzysztof Miller (b. 1962) | based in Warsaw (Poland) | a 16-time champion of Poland in jumping from the diving board and tower | a photojournalist of Gazeta Wyborcza (since 1989) | photographed almost all armed conflicts in the world and historical events of the last 25 years | a juror at the 2000 World Press Photo contest | author of the book 13 wars and one. The true story of a war reporter (Znak, 2013).

Krzysztof Miller – Indecisive Moment
Lover-Silesian Centre of Photography ‘Roman House’ (8 Bp. Nankier Square, Wroclaw, Poland). Grand opening: April 2 at 5:00 PM. The exhibition will be open to the public until April 25, 2015.

Krzysztof Miller’s exhibition is organised under doc! photo magazine patronage.

WE ARE ALL PHOTOGRAPHERS vol. 3 – meeting no. 3

Rafal Milach - photobooks from the years 2000-2014

Rafal Milach – photobooks from the years 2000-2014

Rafal Milach (doc! #19), one of the most acclaimed Polish photographers, will be a guest of the next WE ARE ALL PHOTOGRAPHERS vol. 3 meeting. This time the meeting will cover a phenomenon of photobooks.

Photobook – what is it and why is it so popular in recent years? Is it a temporary trend or something that always was around? How does it make a photographer a complete artist? How does it define contemporary market of photography? How did a balance between photographer and publisher change? Does a photographer have to become a one-man institution?

Do you want to hear answers to these and other questions? Come to the next WE ARE ALL PHOTOGRAPHERS vol. 3 meeting!

Rafal Milach > Introduction to photobooks 

Rafal Milach (b.1978) | based in Warsaw (Poland) | a photographer and a book creator | a graduate from Academy of Fine Arts in Katowice and Institute of Creative Photography in Opava (the Czech Republic) – now also an academic lecturer in Opava | has been working on transformation projects in Russian speaking countries and Central-Eastern Europe for over 10 years | has published several books: 7 Rooms (Kehrer Verlag, 2011), In the Car with R (Czytelnia Sztuki, 2012), and Black Sea of Concrete (2013), and The Winners (GOST Books, 2014) | his works have been presented at numerous individual exhibitions (e.g. in C/O Berlin and Zacheta – National Gallery of Art in Warsaw) and festivals (e.g. PhotoEspana, Look3, and Les Rencontres d’Arles in France) | participated in prestigious Joop Swat Masterclass workshops in Amsterdam (2007) | scholarship holder of the Ministry of Cultural and National Heritage, Magnum Foundation and European Culture Foundation | laureate of World Press Photo, Pictures of the Year International, Photography Book Now, and Paris Photo Aperture Photobook Awards | co-founder of Sputnik Photos, international photo collective | his works are in collections of Kyosato Museum of Photographic Arts in Japan, Brandts, and C/O Berlin.

barStudio (Studio Theatre @ Palace of Culture and Science, 1 Defilad Square, Warsaw, Poland)
March 26, 2015 at 6:00 PM

WE ARE ALL PHOTOGRAPHERS vol. 3’s meetings are organised under doc! photo magazine patronage.

More info @,, and (all websites in Polish language version only)

‘Days of Melancholy’ by Tatiana Vinogradova @ doc! photo magaizne #29/30

"When it came to kissing a girl, I started laughing."  © Tatiana Vinogradova

“When it came to kiss a girl, I started laughing.”
© Tatiana Vinogradova

In Russia the level of intolerance toward homosexuality has been rising sharply. A 2013 survey found that 74% of Russians said homosexuality should not be accepted by society. 16% of surveyed Russians said that gay people should be isolated from society, 22% said they should be forced to undergo treatment, and 5% said homosexuals should be ‘liquidated’. In June 2013 the national parliament unanimously adopted a nationwide law banning “propaganda” –  the promotion of homosexuality to minors. Under the statute it is effectively illegal to hold any gay pride events, speak in defence of gay rights, or say that gay relationships are equal to heterosexual relationships.

This reality has driven the gay community underground, to the shadows. In Russia only 1% of the gay population dares to live openly. That is why the general mood in my work is dark and melancholic. The visual concept mirrors the idea that being gay in Russia is not a rainbow coloured life. In our country rainbows have some very somber shades…

by Tatiana Vinogradova

doc! #29/30 (pp. 105-121)

Cristiano Mascaro & Slawomir Rumiak @ MCK International Cultural Centre


Two artists, two countries, two points of view. An artistic dialogue between Cristiano Mascaro, one of the best-known Brazilian photographers, and Slawomir Rumiak, a Polish multimedia artist.

Cristiano Mascaro set his sights on Gdansk, Warsaw, Lodz, and Cracow. At first, he checked on old factories; then, he investigated residential buildings and cities; finally, he ended up with taking a peek at the interiors of people’s homes.

Slawomir Rumiak focused on São Paulo, one of the world’s largest metropolises, set up by workers arriving from the Brazilian interior. In spite of the city’s population amounting to millions of people, not a single person features in the film. Juxtaposing the movie with Cristiano Mascaro’s black-and-white photographs, one is invited to discover traces of human beings: their places, stories, dreams, and longings.

The spaces envisaged, not only tell the story of the places and the people who created them, but simultaneously they also disclose a sensitivity, knowledge, and the fascinations of the photographers.

Cristiano Mascaro (b. 1944) | a photographer, architect, and lecturer | graduated from Architecture and Urban Planning at the University of São Paulo (M.A. in 1968 and Ph.D. in 1995) | one of the most distinguishable Brazilian photographers actively shooting since the 1960s | has always found cityscape the central motif of his work | his accomplishments includes photographs of Richard Serra’s sculptures, cycles devoted to the world’s largest metropolitan centres (e.g. Buenos Aires, Havana, Berlin, Paris, New York, and Tokyo) | his works have graced numerous individual and group exhibitions and can be found in many private and public collections, notably Centre Pompidou.

Slawomir Rumiak (b. 1972) | a photographer, video artist, and draughtsman | a graduate of the Katowice branch of the Cracow’s Academy of Fine Arts (1999) | won recognition with his photographic cycles, including Prêt-à-Porter (2004) | is perfectly recognisable in Japan, where has cooperated with Tokyo’s Il Tempo Gallery and Zeit-Foto Salon | has published works in Japanese photo magazines and lectured at Japanese universities | has also curated two exhibitions of Japanese art in Poland: Simon Yotsuya and Friends, or Bellmer in Japan (CSW Kronika in Bytom, 2010) and Atokata (BWA Contemporary Art Gallery in Katowice, 2012).

Cristiano Mascaro & Sławomir Rumiak – Traces of People

International Cultural Centre Gallery (25 Main Square, Cracow, Poland). Opening reception: March 27 at 6:00 PM. The exhibition will be open to the public between March 28 and June 7, 2015. 

More info @ and Facebook

The exhibition is organised under doc! photo magazine patronage.

‘Shauna’ by Sean Lee @ doc! photo magazine #29/30

© Sean Lee

© Sean Lee

For three years, between 2007 and 2009, I was a sometime woman called Shauna. I inhabited the persona of a ladyboy. It all began in Siem Reap (Cambodia). I’d encountered and befriended a fascinating transgender community around the city’s red light district and I found myself thinking, what it would be like to be one of them?

I will always remember the first night I went out as Shauna, it felt like I was living the first night of a completely other life. I had to learn to do everything over as Shauna. Even simple, everyday things and actions felt alien and new. There were days I couldn’t recognise myself in the mirror. I often felt like I had become someone else completely. It was a strange and exhilarating time, and I’ve been changed by the experience in ways that I’m still continuing to discover.

I still think about Shauna from time to time, about all those chance encounters with so many who’d befriended, accepted and loved her for her. I still keep up with some of them. In recent years, I’ve gone back to Siem Reap, but it’s all different now. Friends have gone and moved on, the red light district’s been cleaned up, and now, it’s hard to find any of them walking along the streets…

by Sean Lee

doc! #29/30 (pp. 123-151)

‘Kinky City’ by Pawel Jaszczuk @ doc! photo magazine #29/30

© Pawel Jaszczuk

© Pawel Jaszczuk

Piggy costumes, dolls, needles, and thread are girl play material. In a city where restraint and seriousness are the rules that produce a rare collective harmony, the grown-ups play too. At night some people strip off their working suits to cavort in a circus of sex.

The selection is ample: fetish parties, fetish bars, happening bars, private sex parties – the list of places, situations, events, and people is endless. In Kinky City the adventurous explorer can find naughty boys and girls who look like real dolls or dolls that look like real people. They play with hooks, dildos, ropes, and leashes. They enjoy the touch of leather or the strange pleasure of toying with a needle.

Kinky City is the quest for the unknown, perhaps forbidden, secret dreams, shared by people who find goodness in a city that allows her servants an elixir that no other place can provide…

by Fernando Alvarez Busca

doc! #29/30
Photography Keeps me Alive – interview – pp. 37-49
Kinky City – photo story – pp. 50-73

Jakub Karwowski @ Warsaw School of Photography and Graphic Design

© Jakub Karwowski

© Jakub Karwowski

Warsaw School of Photography and Graphic Design invites for an open lecture by Jakub KarwowskiIs consciousness awakens sensitivity?

In his works, Jakub Karwowski mainly focuses on emotions and his nearest surroundings. He often bases on traditions of family photography, transforming it into a modern story about a man in his intimate world.

During the meeting, Karwowski will talk about his projects, understanding of photography, and fascinations within this area of art. He will try to address the question how knowledge of history, aesthetics, and photographic techniques affect the creative sensitivity.

Jakub Karwowski (b. 1985) | based in Cracow (Poland) | a graduate of Photography at the Lodz Film School and Musicology at the Jagiellonian University in Cracow | holder of the Mayor of Cracow’s creative scholarship in photography (2008) | awarded at several photo contests, incl. Photo Diploma Award .(2011), Lodz Fotofestiwal, Emergantes DST, and Encontros da Imagem (all 2012) | has exhibited his photographs in the Netherlands, Poland, Portugal, USA, and Germany | represented by Modulo Gallery – Centro Difusor da Arte (Lisbon, Portugal), Rick Wester Fine Art Gallery (New York, USA), and PlainPictures agency (Hamburg, Germany).

Jakub Karwowski – Is consciousness awakens sensitivity?
Warsaw School of Photography and Graphic Design (14 Lazienkowska St., Warsaw, Poland) on March 14, 2015 at 7:00 PM. 

‘Disappearance’ by Massimiliano Perasso @ doc! photo magazine #29/30

© Massimiliano Perasso

© Massimiliano Perasso

To lie down on a mass confusion, on the uncertainties of the others is a way to find truce, to help the birth of new thoughts. To not lose the right direction whatever happens, is what should be wished to each person we care of… to ourselves. How many of us are conscious of our own journey?

We would rather be aware of our dismay than set which way to go, cause sooner or later it will change direction, it will end without notice.

When frenzy increases… it is more difficult to communicate something deep. Intense. Losing what once our cardinal points seemed to be, getting lost amongst the people, was a starting point.

by Massimiliano Peraso

doc! #29/30 (pp. 211-239)