Masatoshi Naito

Born in Tokyo in 1938, Masatoshi Naito graduated from Waseda University in applied sciences and trained as a research scientist. A keen interest in the folkloric traditions of Japan led him to pursue a career in photography. His work on the ethnological customs of the region of Tohoku became the focus of his seminal 70’s series: Ba Ba Bakuhatsu (Grandma Explosion).

Early on in his career, Naito photographed the mummies of Buddhist priests who had died fasting for the salvation of starving farmers in Dewa Sanzan and then started making photographs that focused on the folk religions and ethnology of Tohoku. In this body of work (1968-1970), Naito portrays female shamans “Itako” who invoke the spirits of the dead. Female Shamanism used to be a widespread phenomenon within Japan, today it is limited to this region where the more esoteric sides of Eastern religion are still practiced. These female shamans photographed starkly by Masatoshi Naito are celebrating death. They mourn the dead by performing rituals and dancing all night to evoke the spirits of the deceased. These women are exuberant and celebrate death not life. Naito pays homage to this time-old tradition with his bright flash, graphically illuminating the characters he depicts. As Naito observed: “The vitality of women comes from the earth. They embrace everything like goddesses and the title Ba Ba Bakuhatsu (Grandma Explosion) came to my mind naturally.”

Emme Divi

Marcella Dalla Valle, graduated in Literature, she was born and is currently living in Italy. Also Known as Emme Divi. She is in love with using natural light based on the high contrast and lot of darkness. Her images are a visual dialogue between photography and poetry: the dimention of anxiety, when the image reflects the instinct, nothing is defined, because the wish is the unconscious as an open work.

The New Promised Land, Stan Raucher

Stan Raucher was born and raised in Minnesota during the age of black and white television, Life magazine photo documentaries, and the publication of The Family of Man. His photographs have been published in LensWork #117, LensWork #97, Adore Noir, Slate, Lenscratch, Black & White Magazine, The Daily Mail, The Independent, Featureshoot, F-Stop Magazine, Camera Arts, and Datum Seiten der Zeit. His prints have been shown in 20 solo exhibits, included in over 60 juried group shows, and exhibited in the Blue Sky Gallery viewing drawers in 2012, 2014 and 2015. They are in the permanent collections at the Lishui Museum of Photography and the University of Washington Hall Health Center, and held by private collectors.

Stan was a 2015 Px3 Competition Bronze Award Winner, a 2014 PhotoWorld finalist, and a 2014 Havana Times Photo Contest winner. He also was a 2012 CDS/Honickman First Book Prize finalist and a Critical Mass finalist in 2012 and 2013. He received the 2013 Black & White Magazine Excellence Award, the 2013 Grand Prix de la Decouverte International Fine Art Photography Juror Award of Merit, the 2011 Black & White Magazine Merit Award, and First Place in the 2010 NYPH Capture Brooklyn Exhibition. Stan resides in Seattle, Washington, and he is currently working on several photography projects around the world.

God Never Talks. But the Devil Keeps Advertising, Debiprasad Mukherjee

In the past 5 years, India has made its prominence felt in the world map, even on the moon and Mars. India became a part of the nuclear club, earned the tag of the world’s largest software exporter, exported the missile, and featured in the list of many countries that has the highest growth rate of GDP.

On the contrary, the country witnessed the heart wrenching episode of a woman being titled “witch” because she could not fulfill her husband’s needs of pleasure. ’Exorcism’ is what they termed this episode.

As luck had it, I had experienced the same at 2016 Ujjain Kumbha Mela. India, Hinduism, Sadhus, Yoga, Kumbha Mela—-all are synonymous to the world. Known as the “largest peaceful gathering in the world”, the Kumbha Mela is hosted in 4 different locations in India (every 12 years). The world witnesses the “largest aggregation of religious pilgrims”. In 2016, Kumbha Mela was held in Ujjain. Located in Madhya Pradesh, through the medium sized city Ujjain runs the pious Sipra river.22nd April to 21st May 2016 saw the accumulation of few millions of people.

Near about 14 kms from the city of Ujjain, in Bawan Kund, near the banks of the Sipra River, the “Ghost Fair-Exorcism” was being hosted. Two different viewpoints exist regarding the nomenclature of “Bawan Kund”. Some believe that the name has been derived from “Brahma Kund” where Lord Brahma used to perform his yagna, while others believed that the name has its origin from the 52 wells, which stands erect near the Keshavark temple on the Sipra River. The construction is nearly 1000 years old and has many pillars, wells and other bodies which stands unified and the Sipra River looks like a waterfall as it flows through the construction. This place has a weird aura and a feeling of mysticism surrounds it, with broken stone structures, a damp smell filling the air, cobwebs, muddy puddles and the smell of flowers offered by the pilgrims.

On the banks of Sipra, in Bawan Kund, ‘exorcism’ took a greater height, where in the name of religion, people were being beaten up ruthlessly. Thousands of pilgrims from interiors of different states (Uttar Pradesh, Madhya Pradesh, Bihar, Jharkhand, Rajasthan etc.) had accumulated here in the name of pilgrimage. They had brought their relatives and friends to free them from evil spirits and the exorcists were violently beating up and ruthlessly hurting the so-called evil women, in exchange of money and valuables. Vimladevi from Gaya, Bihar, was unable to bear a child , Sitadevi from MP was not fulfilling her marital duties properly, Jamuna who came all the way from Kausambhi, UP was mentally retarded , Bindoo from MP’s Raisen was marked as an evil spirit because she had problems in her menstrual cycle and many more who fell prey to these unkind acts of brutality. On the occasions where serious mental and physical attention was to be given to these patients, at least a lot of love and care in this case-they were being struck with a knife until they bled, and were dragged to the river to take the “Holy Royal Dip” to free them from the spirits. The exorcists were taking clear advantage of the blind faith the villagers had on them, torturing these women mentally and physically. Their wails, cries, scream got drowned in the sound of the bells and drums. The women were being hauled underneath the water, struck with knives and being dragged by holding their hair strands with the hope that they will be free from all sickness. The question thus arises “Who is actually sick? The tormentors or the tormented? “

We are in the era of globalization, in the era where the social media is creating ripples among the human population, yet in the year 2016, we get pictures of such dangerous acts of hypocrisy in the name of religion, in the name of faith. What about the women who are tortured in this manner? Who listens to their cries? Who listens to what they have to say? None. These helpless souls have no one to speak for them. In their eyes I have observed myriad emotions, pleads, screams, fear, shame, revenge and definitely helplessness.
This is my India; this is my country where pairs of helpless eyes are trying to locate a ray of hope, every day!

Holy Week in Guatemala, Stan Raucher

I’m intrigued by observing ordinary people going about their daily activities in public spaces in countries and cultures around the world. Glimpses of the human condition emerge as individuals interact with one another and their surroundings. An expressive gesture, a telling glance, a concealed mood or hidden emotion may suddenly materialize and then vanish in a split-second. Such ephemeral events are often overlooked or quickly forgotten. My photographs capture these fleeting moments as evocative, richly-layered images that invite the viewer to generate their own personal narratives. At a time when fewer of the images that we see on a routine basis are honest representations of real life, my candid photography opens a window to the world that actually surrounds us here and now.


Ambrotypes, Serge Romanov

For more than a century and a half one of the most fascinating novel that is the history of the Russian photography has been written. . Nowadays the events of the novel unfold in the decoration of various historical epoch, every one of them are seen through the eyes of the avowed masters of photography who honour the experience of their predecessors. The young generation longing for ultimate freedom also create using and analyzing the previous achievements in the area. Undoubtedly, books, the internet and a great number of seminars and master-classes give the opportunity to anybody to learn the experience of the previous masters of photography. However, how often do photographers address to it in daily practice?

Throughout history people have been eager for fairy tales, romantic and fantastic stories you could hardly believe. A fairy tale is mystery, that cannot be revealed by any any teller, but only those of them who believe in and see…To see what is hidden in the unreal world of the fairy tale, to see love that makes our real world be not empty . The basis for invention of the photography is said to be the observation of the famous Greek scientist Aristotle. In the sixth century BC he described unusual phenomena of the light going through small hole in the window shutter that painted the landscape on the wall that was seen behind the window. Thus, long before the appearance of the first shot the process of developing into the light was defined as mystery.

A piece of art is born not among theatrical scenery, but in the photographic studio where every object is functional. You can realize the magic of the space only after seeing what is being born here. There are no unnecessary objects in the studio of the Moscow photographer Serge Romanov , though everything from the antic wooden cameras ( repaired, in perfect working condition) and old optical devices till the characters who visit the place resemble the first frames of cult movie “ The Phantom of the Opera.” Once forgotten, gone out chandelier flashes out again and the world comes to life with genuine colors. The history of the studio of Serge Romanov started when “ the photography captivated him as a kind of art.” According to his words, it happened 25 years ago. It was simply interesting to capture what he saw around. There were neither camera nor films, nor money to develop and print films. His first camera was his own eyes.

Then there were photo-shoots for the most prestigious glossy magazines such as Playboy, XXL, and works for such companies as ТНТ, Vnukovo Airlines, FashionTV,Rive Gauche, FHM, STSTV, MuzTV and some others. He was recognized and was invited to a number of countries to give masterclasses and exhibited his work in the most famous art galleries in the world. That really attracted him until he realized how expendable this kind of work could be. Adverts and glossy prints are interesting and important only for the period of time of a magazine’s latest publication or an advertising campaign’s launching, in other words for one or two weeks. This sort of work is performed collectively and the proverb goes that too many cooks spoil the broth. Most of these works are boring and unvaried.

You are unlikely to have heard the word ambrotype unless you have devoted your life to photography. In the middle of the nineteen century it was the invention of the ambrotype that made photography more popular and available. Then, in March 1851, the Englishman Frederic Scott Archer delivered a report on wet collodion process in photography at the Royal Scientific Society in Great Britain and at the Paris Academy of Science. Archer called the wet plate collodion process ambrotype . The ambrotype means immortal image in the ancient Greek.

The ambrotype as a fairy tale can be created only when you trust in it. Serge Romanov came into the world of the ambrotype mysterious way. He has become one of the best professional in this area and he doesn’t care about his being popular and only sometimes agrees to exhibit his works as he doesn’t want turn his art into commodity. Serge Romanov remarked that the ambrotype came into his life as a sort of protest against the glossy emasculating picture. Only after some time had passed he realized that the wet collodion process had an indirect relation to photography as the ambrotype was an artifact. That’s why working with such an image means creation of an artifact. It might have been at that exact moment when he understood that he had grown into an artist. As for his style, he admitted he didn’t know or he might be afraid to utter it aloud, supposing that as soon as he does it he loses it.

The photo shots of Serge Romanov are easily recognized, even by those ones who don’t know the name of the photographer and are unaware of the wet collodion method. His photo-shots are argued about, they are referred to, copied and posted on the profile at the social websites. Also there are videos with his interview and lectures where he mentions masters who has influenced his art , they are Pieter Bruegel, Lucas Cranach, Giorgione and Baldassarre Peruzzi, Hans Rudolf Giger and Zdzisław Beksiński and others. Serge Romanov called himself a simple observer with a camera and when opening the camera shutter he simply waited for a miracle to come and it did at the end.

Following the rules of the told fairy-tale, Romanov confirmed them, saying, that the best thing that could have happened to photography was that it became available to everybody. It stopped belonging to a narrow circle of swaggering people looking like possessing some sacred knowledge. A number of nice photos didn’t increase after that, but a nice photo was distinctive in the swarm.

The creation of the ambrotype by Romanov is the sacrament comparing with the masquerade farfetched performance of those who are in pursuit of fame. Possessing only superficial knowledge about the process of taking pictures photographers commercialize the thing. They are interested in presentation, not in the process of creation. The debates about commercialized epatage of modern photographers won’t come down but occupying pages of more than half released article and reviews. Nevertheless, people are eager for fairy tales. People believe in artless words of those who knows that the main mystery is love.

Serge Romanov supposes that a photo itself cannot be evaluated. He takes into consideration a certain style of life of the personality, the way of giving oneself up to business and what it results in. In conclusion, we would like to say that his works seem to become the chapter of the history of the Russian philosophy where the window is the light anyway.


Inge Prader



Petr Flynt

Granted, I might list several photographers whose work is distinctly non-classical. Consider for example Petr Flynt and Evir Bogdan. Their work is inventive, imaginative, unique, exciting, and just plain wonderful. A feast for the eyes and reflective of a photographic intellect at work that transcends the concept of “classic.” If I photographed like them, I might harbor aspirations of being included in the collections of MoMA, the Art Institute of Chicago, or possibly merely the superb photo collection of the Minneapolis Institute of Art.
I don’t, however. My mind doesn’t work like theirs (obviously).
I do pretty good work. Perhaps, compared to Flynt and Bogdan, my work is merely “classic.”

I studied the faculty of medicine at Palacký University in Olomouc and I studied human body in depth. I bought my first own camera and started to ‘create’. At least I thought so.

The sometimes bizarre settings of the photos combined with the exceptional way his models pose made me feel like I was in an early 20th century horror movie. Once I overcame this ‘first fear’ I could see symbolic and double meaning in his work. It is not erotic in a way of sexually stimulating, it is erotic in the way the photographer seems to take the general nude acceptance to another level.

I like his eyes, his light, his composition (correct word ? don’ forget, I’m french…), his ways to catch the inside. He tells us something new, as an artist has to make it, with his own words, and I love that, for sure, I love that, I’m a writer…



Pierre Fudarylí



Jenny Papalexandris

“What is real is not the external form, but the essence of things… it is impossible for anyone to express anything essentially real by imitating its exterior surface” Constantin Brancusi, Sculptor.

Jenny Papalexandris is a Visual Artist based in Australia. She holds a Master of Art (1997) and a Bachelor of Education (Art) 1987 from the University of NSW in Sydney. She works across three main disciplines; Photography, Sculpture and Painting. She has established a visual language that allows her to extend her ideas across all three mediums.

The photography of Jenny Papalexandris explores a subjective response to the world of light and shadow. The photographs are highly expressive and visually commanding. Thematically rich and diverse, her photography is imbued with a strong sense of poetry, symbolism and metaphor.

Her work as a Sculptor investigates her immediate natural environment. The sculptures are part of an ongoing investigation which explore organic growth and the structure of form. Her intention is to create work which speaks about the air, the salt, the clouds, the sea, the leaves and the earth. She aims to transcend physical resemblances and truly abstract felt experience to create essential forms.

Painting further consolidates and refines the scope and ideas within the work. Her paintings can be deeply saturated with colour and luminosity. In them one traces the lyrical outlines and moods of a landscape. The common thread in her work is the impulse to ‘sense’ rather than ‘see.’ Her work reveals a singular vision explored with rigour and sensitivity, both visually and conceptually.

Jenny Papalexandris continues to exhibit both nationally and internationally. She has been the recipient of numerous Art Awards. Her work has been included in various publications and media.


Never Home, Bilo Hussein

When I was growing up in Saudi Arabia, my Sudanese parents often reminded me that the county we lived in was not our home. It was only years later that I understood the implications of this – that it might become impossible for me to belong to any culture and that there was no place I could comfortably call home. These grownup feelings are the basis for Never Home.

Never Home is an ongoing project driven by the sense of segregation in religion, culture and gender that I experienced as a child in Saudi Arabia. I also express my continuing wish to find a place where I can fit in regardless of belief. Yet, as a third culture individual I often wonder if home is the place where you physically spend the most of your life? Is it a place you feel you belong to? Or is simply a country that you are a citizen of?

The judgmental way of life in which I was forced to participate as a child was the catalyst that led me to pick up a camera and use it to connect with people I had previously not been allowed to accept. Rather than trying understand the meaning of home through my own feelings and thoughts, I chose to create portraits of women such as myself, who had recently moved to New York City from a different background than my own.

To find these women, I started with my immediate circle of acquaintances, and then began to reach out to strangers. I ask them all if they felt they had been able to find the same level of comfort to New York City. I asked them if they felt they belonged here, if they considered it home, and if they still missed the place they’d come from. In asking these questions I discovered our commonalities as women, regardless of origin.

As I went on to arrange and shoot the portraits, I directed my subjects to think about their formative experience in their culture of origin – on the good and the bad. I found myself almost subconsciously placing them next to a window, for reasons beyond its value as a light source. I came to the realization that they were really me sitting by the window as a child, locked up in our house in Jeddah wondering if I were ever to leave this place if would find another land I could honestly call home. I realized that I was trying to find myself in others and that the photographs were introspective, and almost like self-portraits.

The layers of additional images and textures I incorporate into these images in post processing are meant to evoke the very thoughts and feelings of my subjects. These layers consist of places and patterns I have fallen in love with since my own move to New York City. These internal images are meant represent the process of coming to accept a new culture as one’s own, which I myself am slowly doing. But they are also saying that inside each displaced person is an abundance of emotion, thought and experience that in many cultures women are not allowed to share.


Anton Solomoukha

Anton Solomoukha was born in Kyiv, Ukraine. He graduated from the Kyiv
State Art Insitute , and worked as a muralist until his emigration to Paris, France in 1978. Since then he has exhibited his work internationally, including exhibits in the United States (New York, Boston, Chicago, Philadelphia, Cleveland, Washington DC), Germany (Cologne, Munich), and France (Paris,Lyon,Toulouse,Nante,Metz,Strassbourg….). He continues to live and work


Laura Makanbresku



Anthony Mirial



Alexey Bednij


Clownville, Eolo Perfido


Eolo Perfido is a 44 years old, french born, advertising and portrait photographer based in Rome, Italy
He run one of the biggest photo studio in Rome and in the last decades he collaborated with several international advertising and comunication agencies such as JWT, Saatchi & Saatchi, Leo Burnett, Young & Rubicam, BBDO, United 1861, Grey and Blossom Communication.
Eolo Perfido photography has been featured in magazines such as NY Times, Communication Arts, Panorama First, Vision, Vogue Russia, GQ Russia, Comunication Arts, L’Espresso, and Computer Arts and he worked for several international clients like Pepsi Cola, Samsung, Kraft, Gatorade, Sky Television, Novartis and Opel.

In the beginning his career he has been honored to assist on the field photographers like Steve McCurry, Elliott Erwitt, Eugene Richards and James Nachtwey in several of their shootings in Europe, Africa, Asia and South America.

In 2011, the italian magazine L’Espresso has chosen along with other 9 young Italians creatives who have been asked to tell through a picture the 150th anniversary of the Unification of Italy.

Eolo also follows a personal artistic journey that leads him to exhibit in numerous private galleries. Among his most successful series is definitely the photographic series Clownville, recently exhibited in a solo show at Galleria Janet Coast of Recife in Brazil during the International Circus Festival.

His creative path has allowed him to win several major awards in the field of creative photography.

In 2009 he was awarded the first prize of the National Association of Italian Professional Photographers Tau Visual for the creative quality of its images.

In 2010 he was awarded the “Best International Photographer” during the exhibition “Photo Vernissage” which was held at the Manege Museum in St. Petersburg, which saw the participation of hundreds of photographers from around the world.

In 2016 he created Storm Studio a Digital Artists collective specialized in Creative Retouching, Digital Imaging, Advertising Still Visuals, Post Production and 3D CGI.

Rituals, Jack Montgomery


Michał Giedrojć

Age group 1980, artist-photographer from Poland, student of Photography at the University of Arts in Poznań, for many years in the photographic branch. He had so many exhibitions – both individual and group, in Poland and abroad. Publications of his works were shown for years in many magazines around the world. He is a laureate of many competitions – especially those of international importance. He cooparate with various artists, also willingly shares his experience with other adepts of photographic art, leads workshops and meetings.

First of all, he is interested in creative photography. All photos represent his own, subjective view of reality, people, places. In works he gives you the possibility to get to know his visions, his perception of the world, the unreal world. Most of them are based on graphically manipulated images, the vision is filtered by sensitivity. Situation presented in artistic photography never happened and were only created by author’s imagination and dreams. The quality, the consequence, the imagination – this is very important to him in photography, especially experimental photography. He likes this kind of conflict between what is realistic and what constitutes the author’s imagination on the subject of a particular scene.

As he admits, experimental photography is pure passion, the idea of not only creation, but also for life. The uniqueness of moments leads to a subjective presentation of reality, emotions, details. He is not afraid of his own opinion, he is looking for the truth.

The creative process does not start with pressing the shutter button. This is just one part of the whole work. In artistic photography, creation starts with an idea, and the author never stars work without special vision of the photo. Time spent in front of computer monitor is the most important moment in the formation of the world on a particular picture, but the same focus is needed on every creative step.

The artist as his main artistic point consider his dreams visions, however, the creative photography allows him to wider artistic activities. He likes playing with expanse, different situations, or even yourself – his self-portraits. Everything is done without preconceived rules, which gives enormous possibilities. The main thing in his job is to arouse feelings and emotions in the audience, even if this would be a complete denial of all effects. This is just artistic photography – so many hours to create, thenthe final element of surprise, sometimes even for the author.


James Akena

I spend a lot of my time covering political news here in Uganda and the Great Lake region, and I photograph feature stories too. I cover topics in different countries in this part of Africa, and have been monitoring and reporting on political developments in the restless Democratic Republic of Congo for a long time

David LaChapelle


David LaChapelle is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages.

LaChapelle’s photography career began in the 1980’s when he began showing his artwork in New York City galleries. His work caught the eye of Andy Warhol, who offered him his first job as a photographer at Interview Magazine. His photographs of celebrities in Interview garnered positive attention, and before long he was shooting for a variety of top editorial publications and creating some of the most memorable advertising campaigns of his generation.

LaChapelle’s striking images have graced the covers and pages of Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D, and he has photographed some of the most recognizable faces on the planet, including Tupac Shakur, Madonna, Eminem, Andy Warhol, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil’ Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Jeff Koons, Leonardo DiCaprio, Hillary Clinton, Muhammad Ali, Britney Spears, Amanda Lepore, Katy Perry, Lady Gaga, Whitney Houston, Jay Z, Nicki Minaj, Kanye West, and Angelina Jolie, to name a few. After establishing himself as a fixture in contemporary photography, LaChapelle decided to branch out and direct music videos, live theatrical events, and documentary films. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Amy Winehouse, Britney Spears, and No Doubt. His stage work includes Elton John’s The Red Piano and the Caesar’s Palace spectacular he designed and directed in 2004. His burgeoning interest in film led him to make the short documentary Krumped, an award-winner at Sundance from which he developed RIZE, the feature film acquired for worldwide distribution by Lion’s Gate Films. The film was released theatrically in the US and in 17 different countries in the summer of 2005 to huge critical acclaim, and was chosen to open the 2005 Tribeca Film Festival in New York City.

In 2006, LaChapelle decided to minimize his participation in commercial photography, and return to his roots by focusing on fine art photography. Since then, he has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. He has had record breaking solo museum exhibitions at the Barbican Museum, London, Palazzo Reale, Milan, Museo del Antiguo Colegio de San Ildefonso, Mexico City, the Musee de La Monnaie, Paris, the Museum of Contemporary Art in Taipei, Taiwan. In 2011, he had a major exhibition of new work at The Lever House, New York and retrospectives at the Museo Arte Contemporáneo de Puerto Rico, the Hangaram Design Museum in Seoul, Galerie Rudolfinum in Prague, Fotografiska Museet in Stolkholm, and the Tel Aviv Museum of Art in Israel, in which he was awarded artist of the year. In 2014, LaChapelle exhibited his new series, “Land Scape” in New York, Vienna, London and Paris.

Other selected museum exhibitions include: the National Portrait Gallery in Washington D.C., the Los Angeles County Museum of Art, the National Museum in Krakow, the Kestner-Gesellschaft in Hanover, Germany, the Lucca Center of Contemporary Art Museum in Italy, the Shanghai Duolun Museum of Modern Art, the Museum of Contemporary Canadian Art in Toronto, and the Kunsthaus Wien in Vienna.

Over the course of his 30+ year career, LaChapelle continues to be inspired by everything from art history to street culture, from the metaphysical to immortality, projecting an image of twenty-first century pop culture through his work that is both loving and critical. Always aware of larger social implications, LaChapelle’s work transcends the material world. He is quite simply the only photographic artist working today who has been able to successfully maintain a profound impact in the realm of celebrity photography as well as the notoriously discerning contemporary art intelligentsia.

Motion Pictures