ABOUT DIMITRIS SIDERIDIS

Art has always been a major part of my life, both as a form of expression and internal exploration.It started not with a camera like almost all photographers but with colors and paints.The photography met with me much later, however, I had to win. Nevertheless, I never stopped painting, writing…

Photography, painting, poetry, motion imagery and almost all forms of art fascinate and inspire me, bringing together the different pieces that make up the sum of my personality. Throughout my journey so far, I have always tried to be faithful to these promises and be true to myself and my commitment towards Art.

“Art cannot change the world, but it has the power to influence people – and people can change the world”

Awards

2022

“Chromatic Awards 2022” – 2nd Place for “Hidden” (Cityscapes)
“Chromatic Awards 2022” – Honorable Mention for “Seaweeds” (Nature)
“Budapest International Foto Awards” – Silver Winner for “Loss and Memory” (Portfolio/Personal)
“Budapest International Foto Awards” – Bronze Winner for “Passage” (Nature/Seasons)
“Budapest International Foto Awards” – Honorable Mention for “Women Refugees” (People/Portrait)
“10th Olympic Photo Circuit 2022” – GAP Honorable Mention 6 HERMES Salon for “Break” (Open-Color)
“10th Olympic Photo Circuit 2022” – Nominee’s APOLLO Salon for “Break” (Open Color)
“10th Olympic Photo Circuit 2022” – Nominee’s APOLLO Salon for “Women Refugees” (Open Monochrome)
“PX3 Prix De La Photographie Paris” – Bronze Winner for “Women Refugees” (Portraiture/Family)
“reFocus Awards” – People’s Vote Winner for “Women Refugees” (Photojournalism)
 “reFocus Awards” – People’s Vote Winner for “Break” (Portrait)
“reFocus Awards” – Nominee for “The woman and her dog” (Domestic Animals)
“reFocus Awards” – Nominee for “Seaweeds” (Nature)
“reFocus Awards” – Nominee for “Place and Memory” (Architecture)
“reFocus Awards” – Nominee for “Arab Night At The Souq”  (Travel)
“reFocus Awards” – Nominee for “Passage” (Aerial)

2021

 PX3 2021 Prix De La Photographie ParisBronze Winner for “Hellenikon” (Architecture/Historic)
“MIFA – Moscow International Foto AwardsSilver Winner for “Rafael Trejo-Dukes on the Ropes” (Book/Documentary)
 “MIFA – Moscow International Foto Awards” Honorable Mention for “Hellenikon” (Editorial/Photo Essay)

2020 

PX3 2020 Prix De La Photographie ParisGold Winner for “Rafael Trejo-Dukes on the Ropes” (Book/Documentary)
“Fine Art Photography Awards” Nominee for “Rafael Trejo-Dukes on the Ropes” (Photojournalism/Series)
 “APA – Annual Photography Awards” Honorable Mention for “Rafael Trejo-Dukes on the Ropes” (Photojournalism/Series)
“TIFA – Tokyo International Foto Awards” Honorable Mention for “Rafael Trejo-Dukes on the Ropes” (Book/Documentary)
“TIFA – Tokyo International Foto Awards” Honorable Mention for “Hellenikon” (Editorial/Photo Essay)
 BIFA – Budapest International Foto Awards” Honorable Mention for “Hellenikon” (Editorial/Photo Essay)
”Chromatic Awards” Honorable Mention for “Arab Night At The Souq” (Travel)
”Firsthand – Normal People shaping the world” 1st Prize for “Social Kitchen-‘The other human’”

2019

 “IPA – International Photo Awards” Honorable Mention for “Arab Night At The Souq” (Travel)

2018

 PX3 2018 Prix De La Photographie Paris” Honorable Mention for “09’00’’N033o16’38’’E-IATA: NIC-ICAO:LCNC” (Press/Feature Story)
 Monovisions Photography Awards” Honorable Mention for “09’00’’N033o16’38’’E-IATA: NIC-ICAO:LCNC” (Architecture/Series)

Dimitris Sideridis is a senior photographer whose award-winning work has been featured in some of the world’s biggest news websites and shown in exhibitions in his native, Greece, and elsewhere in Europe. Currently based in Qatar, he has an exceptional record of managing teams and producing engaging content based on the highest professional standards.

 

He was born in Istanbul, Turkey, in 1970. He studied Architectural Design at AKTO College of Arts and Design, in Athens. He has a postgraduate degree on “Master of Arts in Photography and Visual Language” (scholarship) from the Middlesex University of London. He has been an active photographer since 1998.

Other studies include the “Theoretical Approaches and Personal Style” course at the University of Athens and the Photography program at the Department of Art and Applied Arts of the School of Arts of the University of Western Macedonia, Greece. He has attended art and history of art. Also photography classes on studio techniques, advertising photography and applied photography at Athens Art Studio. He has also attended seminars, conferences and lectures with many distinguished photographers and as well as workshops with the Greek Reporters’ Society.

 

He has twice been awarded a scholarship at the New School Athens Photography. In 2012, he formed a photography team composed of other photographers called RIGMA and he has been an active member in several other photography groups. In the same year, the Onassis Cultural Center chose one of his photographs to be viewed at the Foundation’s facade.

 

In 2019, he was published a self-published book “Rafael Trejo – Dukes on the ropes” in a limited edition for the renowned gym, for Cubans boxers. His photographs have been honoured at a number of prestigious awards, including the IPA International Photo Awards (2019) for his image titled “Arab night at the Souq” and the PX3 Prix de La Photographie Paris (2018) for his work titled “35ο 09’00’’Ν033ο 16’38’’Ε ΙΑΤΑ: NIC – ICAO: LCNC” about the abandoned old airport in Nicosia, Cyprus.

 

Over the past four years, he has been a frequent contributor to CNN‘s website, providing images and copy for features reported from Qatar, Greece and Cyprus, among others. His exceptional  travel-focused work has been viewed by millions of online users and redistributed to a number of other international websites. Similarly, he has been a regular contributor to Al Jazeera English‘s website and online platforms, producing content on a wide range of topics.

 

A holder of a Qatar residency permit, he also collaborated with the country’s Pro-TV in 2018 when he worked as a Photo Manager/Photographer at the 11th Artistic Gymnastics World Cup. He has been partner at Doc4Life, specialized cooperative press agency producing audiovisual products, stories, multimedia and documentaries in Greece, the Balkans and the Eastern Mediterranean area, since 2012.

He has curated and participated in many exhibitions in Greece and abroad. In December 2016, he moved to Doha, Qatar.

2022 THAKIRAT MAKAN (MEMORY OF A PLACE)” – (SARISTRA FESTIVAL- Solo exhibition) 

2021 “ABANDONED BUILDINGS” – (BLANK WALL GALLERY – Virtual Group exhibition) 

2020 “MY WORK” – (APW Athens Photo World 2020 – Audiovisual Video Presentation of my work at online platform of APW) 

2019 “MEMORY AND LOSS” – (AKTO CAMPUS – Individual Audiovisual Video Projection-Installation-Photography Exhibition and Presentation of my self-published Book)

2018 “KOFINOU ASYLUM CAMP IN CYPRUS” (ANTI-RACIST FESTIVAL – IMMIGRANT SUNDAY SCHOOL – Group exhibition)

2017 “REFUGEES AT GREECE” – (ANTI-RACIST FESTIVAL – IMMIGRANT SUNDAY SCHOOL – Group exhibition)

2016 “SCREENING NIGHT” (ATHENS PHOTO FESTIVAL) – Multimedia presentation hosts in-progress projects – Group of artists)

2016 “REFUGEES AT GREECE” – (ANTI-RACIST FESTIVAL – IMMIGRANT SUNDAY SCHOOL – Group exhibition)

2015 “REFUGEES AT GREECE” – (ANTI-RACIST FESTIVAL – IMMIGRANT SUNDA Y SCHOOL – Group exhibition)

2014 “WHAT POLITICA – AN NON POLITICAL FOOTBALL STORY” – (Photos for Documentary Film)

2014 “CITY ON THE EDGE” (MOSAIC – Photographic team of Kallithea’s Municipality – Group exhibition)

2013 “H2O” (DOC4LIFE – Stand alone photographic installation– Group exhibition)

2013 “TRANSFORMATIONS IN LIGHT AND IN SHADOW” (MOSAIC – ATHENS ART STUDIO – Group exhibition)

2013 “WORKSHOPS” (PHOTOVISION 2013 – ATHENS ART STUDIO – “PHOTOGRAPHER” magazine – Group exhibition)

2013 “MUSIC & MUSICIANS” (DOC4LIFE – Group exhibition)

2013 “FIVE NARRATIONS, ONE STORY – YEAR DEDICATED TO K.KAVAFIS” (Photographic team of Kallithea’s Municipality in cooperation with NEOS KOSMOS THEATER – Group exhibition)

2012 “CITY RIDES” (Photographic team RIGMA – Group exhibition & Curating)

2012 “OPEN SCREEN PROJECT” (ATHENS PHOTO FESTIVAL 2012 – Group photo viewer of groups with the photographic team PHOTOPIA)

2011 “VIEW-ASPECT” (Photographic team SHOOTERS STUDIO of PLATAION STREET – Group exhibition & Custody)

2011 “CITIZENS OF THE WORLD” (PHOTOGRAPHY CLUB OF CONSTANTINOPOLITANS – Group exhibition at the 2nd FESTIVAL OF UNIVERSAL FEDERATION OF CONSTANTINOPOLITANS)

2010 “OPEN SCREEN PROJECT” (ATHENS PHOTO FESTIVAL 2010 – Group photo viewer of groups with the photographic team of Kallithea’s Municipality)

2010 “CENSORS AND CAREGIVERS” (Photographic team of Kallithea’s Municipality –Individual project in the context of group)

2009 “URBANICITY” (Cultural Organizations of municipalities of KALLITHEA PRAGUE K5 – Group exhibition at the Prague Festival)

2009 “FORBIDDEN LOVE CHRISTMAS POEM – G.CHRONAS” (Artspace ΒΟΟΖΕ COOPERATIVA ASSOCIATION OF THE GREEK PHOTOJOURNALISTS – Group exhibition)

2009 “TRIPTYCH” (Photographic team of Kallithea’s Municipality – Group exhibition)

2009 “THE SONNET OF THE MOONLIGHT – 100 YEARS OF J. RITSOS” (Photographic team of Kallithea’s Municipality – Group audiovisual projection)

2008 “VERBAL PHOTOS” (Photographic team of Kallithea’s Municipality – Group audiovisual projection)

2008 “LIMITS” (Photographic team of Kallithea’s Municipality – Group audiovisual projection)

2007 “CYRANO DE BERJERAC” (Photographic team of Kallithea’s Municipality – Individual audiovisual projection in the context of group)

2006 “YOUNG PEOPLE AND PHOTOGRAPHY – SELF- PORTRAITS” (Artspace ALEKTON FOCUS Photography School – with support from the GENERAL SECRETARIAT FOR YOUTH – Group exhibition)

2005 “THE HIDDEN COMPLETENESS OF NOTHING” (Photographic team of Kallithea’s Municipality – Group audiovisual projection)

2005 “THE DOUBLE FACE OF REALITY” (Photographic team of Kallithea’s Municipality – Group audiovisual projection)

2003 “SELF-PORTRAITS” (Photographic team of Kallithea’s Municipality – Group exhibition)

2002 “KALLITHEA, MAN IN THE CITY” (Photographic team of Kallithea’s Municipality – Group exhibition)

What does photography mean to you?

Art has always been a major part of my life, both as a way of expression and of internal exploration. For me, unlike almost all photographers, it all started not with a camera but with colors and paints. I encountered photography later in life, but it won me over. Nevertheless, I never stopped painting and writing.

Photography, painting, poetry, motion imagery and almost all forms of art fascinate me and inspire me, bringing together the different pieces that sum up who I am.

Throughout my journey so far, I have always tried to be faithful to these promises and be true to myself and my commitment towards Art.

“Art cannot change the world, but it has the power to influence people – and people can change the world”

What kind of photography?

Throughout my journey in photography, I have delved into various types, including photo reportage, theater photography, travel photography, studio photography, etc.

I do not focus on just one type of photography, because I believe the most important thing is to photograph.  Life is part of all aspects of photography, not just one, and I like to photograph life.

However, every type of photography requires a different set of skills, knowledge and equipment, of course.

But what’s important is to always remember to do things with love and professionalism, two very important factors for photography.

What camera/lenses – equipment do you use?

 

 

 

My photographic equipment is my eyes – and a long list of expenses that never stops hahaha …

 

Bodies: NIKON D800, D610, SONY 7sII and GOPRO Hero3 + and lenses: NIKKOR AF D50mm 1:1.8, AF-S 50mm 1:1.8G SWM ASPHERICAL, AF-S G85mm 1:1.8, AF-S SWM VR ED IF ASPHERICAL 28-300mm 1:3.5-5.6G, AF-S 24-70mm 1:2.8G N NANOCRYSTALCOAT SWM ED IF ASPHERICAL, AF-S 70-300mm 1:4.5-5.6G VR SWM ED IF, SAMYANG AE14mm 1:1.8G,

the list includes Hoya/Marumi/Nikon filters, Zacuto eyepiece, Ommlite/Pixco adapters, sound recording systems: Zoom Handy Recorder H4n/Sennheiser Sk100 eW100 G3/Olympus DW-90 Digital Voice Recorder, storage cards: Sony/Sandisk Extreme Pro/Plus/CompactFlash, Slider Konova K5, Syrp Genie G01 Motor Slider, Manfrotto Tripods, Monopods, Professional Heads, Nikon/Sony/GoPro Batteries, Portable Battery Chargers, equipment transport bags LowePro, Led Lights, Softbox 90/120cm (Gold/Silver/Black), Lightbox Walimex Pro, X-Rite Color Checker Passport, in Post Production: I-Mac Pro 27¨/3.0 10C/64GB/1TB/Vega 64/WLKB/GBR, Apple Mac Book Pro 15¨ Retina laptop 2.4GHz Intel Core i7/16GB/1600MHz/DDR3 NVIDIA GeForce GT 650M 1024MB, Mac Thunderbolt Display/GBR, storage discs: Western Digital MyPassport/Desktop Thunderbolt/Ultra/Elements, Seagate Expansion/Barracuda, memory sticks, image editing programs.

In addition to the costly equipment (camera, lighting, computer hardware, data storage / back-ups and image editing software), there are also other factors in play, such as: rent/fixed costs (office rent and expenses, studio space or location fees); travel expenses for an outdoors shooting (transportation cost); business and equipment insurance/service (promotion and website cost); taxes (income and sales tax); partners’ fees (assistant photographer to help carry and set up equipment, videographer, make-up artist, hair artist, stylist etc.).

What must also be taken into account are the countless hours spent to study, acquire knowledge and process the final product. That’s why it’s important to understand that when you hire a photographer, you don’t hire someone who just presses a button on a camera but someone who can meet the high requirements you may have. The cost is usually related to quality, which means you get what you pay for, so if you’ve hired a cheap photographer don’t be surprised if you get terrible, unusable photos.

How much image editing software do you use?

I process photos using Adobe Lightroom.

In the case of photojournalism, processing usually has to follow the limits set by objective photojournalism. I am for truth, not plausibility.

When it comes to more creative work, I like to experiment without, however, interfering in non-photographic ways. It’s all about the capture.

I admire, of course, works in which processing has a distinctive impact on what has been photographed, but I believe that this is not pure photography but a result of photographic aesthetics.

Everything is allowed in Art but that does not mean that any work can be described as photographic if it does not follow its rules.

Do you work for any organization?

I am a freelance photographer /photojournalist. I work with international networks such as Al Jazeera and CNN, but also with companies such as PRO-TV Broadcast as a photomanager/photographer. However, one reason behind my decision to work as a freelancer is being able to choose the partnerships and jobs that I want to be part of. I am open to any cooperation where my work will be appreciated and happy to work if the right conditions are in place.

In any case, I am open to discussions.

How do you choose your projects?

If there is an assignment, it’s all about the briefing. In terms of my personal work, it often has to do with something that I see which then I proceed to photograph. In some cases, an idea is created from something that I will read, imagine or hear. I process the idea in my mind and try to give it some sort of form.

Often times, you have a starting point but then the photographs that you take change your approach and lead you somewhere else. But if we are talking about a particular project, the process is more complex.

Regardless, what’s needed in order to complete a project is thorough research and a lot of work.

Can I use your images?

Working as a photographer has a certain magic to it, which often creates a false impression to many people that is something akin to a hobby. Yes, photography can be a very creative task for some people, but for many others it is a demanding and challenging profession. This is often not understood by everyone.

All professions have positive and negative aspects to them. Taking photographs in the digital age may have become easier for almost everyone, but the profession of a photographer is still demanding, difficult and competitive. Competition is such that pay levels have shrunk. However, quality is related to pricing.

What often happens is that professional photographers are not compensated appropriately due to a number of factors. Other times, their images are stolen and used without their permission. All these situations are damaging for professional photographers.

 

Photography is subject to copyright which is governed by different laws at the national and international level. (In Greece, there is Law 2121/1993, which replaced Law 2387/1920 and certain amendments to Laws 3057/2002, article 81 and 3207/2003, paragraph 33). Therefore, if you are interested in using an image is to contact the person who took and agree on a fair price. In this way, you reward their efforts but also demonstrate that you know how to appreciate the person behind it, which is something that unfortunately most people are not doing these days.

Do you have any photography tips?

The advice I can offer doesn’t have anything to do with technical issues, which after all you can learn either from the internet or by attending seminars and studying. I can, however, give some advice which is based on my personal experience and is mostly behavior-related.

 

Studio photography:

A real professional knows how to work together with others, especially in this kind of environment which requires the coordination of different actors to produce a result that will satisfy not just the client, the models and the participants but also yourself.

 

Be on time and never miss a deadline. Take good care of your space; prepare it and clean it before and after a shooting. Don’t forget about room temperature when you are photographing people (especially in the case of nude photography). Warm or cold temperatures may affect the participants’ mood, make them feel uncomfortable and eventually not able to operate. If the shooting lasts long, make sure there are breaks and snacks/water available.

If you respect your space, the others will do the same; if you respect the others, they will respect you, too.

Make sure the terms of the agreements are clear and to abide by them, as well as fill in the forms required (model release).

 

Theater photography:

Theater photography is a multi-faceted and particular kind of photography. The outcome depends on what you have been asked to shoot. Is it a rehearsal? Performance? Backstage? Have you been asked to take program pictures? The advertising campaign? There are many factors in play. What’s important to remember is that you must be discreet, so that your presence does not disturb the participants and allow them to be fully focused on their work. You must not, in any way, disrupt what is happening, which is also what you have been asked to photograph. It is useful to have a discussion with the participants involved so that they can also help make your work easier. It’s also helpful to have a clear idea about what is taking place before starting shooting, be aware of the lighting and space conditions and how to move around the space without any problems. When it comes to theater photography there are many limitations so you must be inventive and know how to turn these particular conditions into a creative process.

 

Travel photography:

What’s needed here is to conduct beforehand a thorough research of the place you are going to visit. This might also be useful by guiding you towards what you want to achieve. There are many different things you can accomplish depending on your target audience – is it a travel agency or a magazine? Or is it a more in-depth story? Be as focused as possible on what is it that you want to do. Go around the place not as a tourist but as a local, this is way more interesting! In places where there is a different culture and traditions from yours, you must try to go by unnoticed. It’s important to be discreet and respect the local customs, especially when approaching people and certain situations. Do that with a smile that comes from within your soul and your pleasant attitude. Always respect the people and their place.

 

Sport events:

Here, the most important thing is to have a very good knowledge of the sport that you are going to photograph and its terminology. You will, of course, need to have secured the accreditation that will allow you to be close to the action. When it comes to events that take place in stadia or indoor sport facilities, there is usually a photo manager whose responsibilities include dealing with any problems that may arise as well as the smooth running of the event as per the guidance of the relevant organization/federation or committee. Therefore, in general, what’s needed is to be alert and abide by the rules governing the sport event and comply with the instructions of the relevant bodies. The same applies to open-air sport events, where you must ensure also ensure your safety in order to avoid accidents (for example in racing events such as Rally Acropolis).

Always keep in mind that there might also be other photographers present so you must respect your colleagues and facilitate their work, as they ought to do, as well.

 

Photo reportage:

In contrast to the above, being a photo reporter means that often times you will have to work under dangerous conditions for your safety and physical integrity.

When it comes to news stories, speed, flexibility and decidedness are paramount.

If deployed abroad, you may need a fixer who will help you get around faster and more efficiently as they will know the place and its people. There is also the chance you might have to undergo specific training.

Always abide by the code of ethics. Respect your colleagues, help them to do their work and not obstruct them; after all, no two photographs are the same.

Do not forget that you are there for a specific reason, which is to cover an event and present to the world what is actually taking place. Make sure you work is impartial and objective, without forgetting your human essence. Being Human is the most important thing, and life is the most precious asset, so in difficult situations photography takes on a second role.

 

General:

Some of these tips can also be applied in other situations, so they can simply be adapted to the circumstances with the necessary adjustments. Keep your equipment in good condition and take good care of it because it is important to remember that the details are what will make you stand out.