Carol Jerrems


Carol Jerrems was an Australian photographer. Jerrems studied photography at Prahran College 1967-70. She is mainly known for documenting the counter-culture spirit of Melbourne in the 1970s.

Carolyn Cole


Carolyn Cole (born April 24, 1961) is a staff photographer for the Los Angeles Times. She won the Pulitzer Prize for Feature Photography in 2004, for her coverage of the siege of Monrovia, the capital of Liberia.
Cole graduated from The University of Texas in 1983 with a Bachelor of Arts, majoring in photojournalism. She earned her Master of Arts degree from the School of Visual Communication within the Scripps College of Communication at Ohio University. She began her career in 1986 as a staff photographer with the El Paso Herald-Post, a position which she occupied until 1988. She then moved to the San Francisco Examiner for two years, before spending another two years as a freelance photographer in Mexico City, working with newspapers such as the Los Angeles Times, Detroit Free Press, and Business Week. In 1992, Cole returned to being a staff photographer, working for The Sacramento Bee, before moving to the Times in 1994.
In 1994, the same year she moved to the Times, she was recognized in their editorial awards for her pictures of the crisis in Haiti. The following year, she was recognized again, this time for her work in Russia.
In 1997, she gained attention for her photographs of dying bank robber Emil Matasareanu, who had been shot after a nationally televised shootout with police. Her evidence was used in the wrongful death lawsuit filed by his family. Her pictures also helped the Times win a Pulitzer Prize for its coverage of the event. Later that year, she was named Journalist of the Year by the Times Mirror Corporation.
Cole has also had difficulties with the law. In April 2000, she was arrested on felony charges for “throwing deadly missiles” at police during protests in Miami’s “Little Havana,” at the height of the Elián González affair. Her critics alleged that this was an attempt to fire up the crowd in order to gain more shocking pictures. All charges were dropped, though, for lack of evidence.
Cole spent time in Kosovo during the 1999 crisis, and in 2001, spent two months in Afghanistan. In 2002, she received the National Press Photographers Association Newspaper Photographer of the Year award for the first time.
In 2002, Cole covered the beginnings of the prominent siege of Bethlehem’s Church of the Nativity, which had been occupied by Palestinian militants. Then, on May 2, she made a last-minute decision to join a group of peace activists who entered the building in solidarity with the Palestinians. Over the nine days that followed, she doubled as a news reporter for the Times, filing several stories. She was the only photojournalist in the building itself. The pictures she took earned her a nomination for the 2003 Pulitzer Prize.
In mid-2003, Cole went to Liberia, as rebels surrounded the capital, Monrovia, demanding the resignation of President Charles Taylor. This trip was to earn her the 2004 Pulitzer Prize, “for her cohesive, behind-the-scenes look at the effects of civil war in Liberia, with special attention to innocent citizens caught in the conflict.” She won the 2003 George Polk Award for photojournalism. In 2004, Cole was named both NPPA Newspaper Photographer of the Year for a second time, for her work in both Liberia and Iraq, and the Pictures of the Year International Newspaper Photographer by the University of Missouri’s Missouri School of Journalism. This made her the first person ever to win all three of America’s top photojournalism awards in the same year. During the year, she also spent time in Haiti, witnessing the fall of the regime of Jean-Bertrand Aristide. Cole has also received the Robert Capa Gold Medal from the Overseas Press Club in both 2003 and 2004, and won two World Press Photo awards in 2004.
In 2007, she won the NPPA Newspaper Photographer of the Year.

Bosi Matteo


He was born in 1966 in Cesena – that is, in the Italian region of hospitality – where for years he has been living with his loved wife and two sons.

After graduating from the famous Istituto d’Arte della Ceramica di Faenza (‘Art Institute of Ceramics in Faenza’) in 1985, he has begun a long artistic career characterized by continuous experimentation. This has been leading him to use multiple means of expression: from ceramics to painting, from photography to digital techniques.

Since 2000, he is the owner of the Communication Agency “Pixel Planet” S.a.s. Through this, he got to work:
both as communication designer, by creating graphics, packaging, web-design and advertising campaigns,
and as fitter and organizer for Art Museums and Photographic Exhibitions in Italy and abroad on behalf of government agencies and foundations.

An indisputable cameo of his agency is also the commercial photography for Companies that need to produce advertising campaigns, cataloguing and marketing of their own products.

Since 2012 Pixel Planet also offers courses dedicated to Photography, and it has become itself an exhibition space, as well as a place for cultural exchange.





Iana Tokarchuk


I was born in the USSR. Currently I live and work in Kiev, Ukraine. My childhood was marked by immersion in art, as I painted ceaselessly from a very young age. At some point I also began writing short stories and plays. This made me pay particular attention to narration in any visual art I do, as an image always tells a story (or stories) to its spectator.

When I was 14 my father gave me and my sister cameras as a present, and by the age of 18 I firmly decided that this is what I want to associate my life with. For 5 years I have been working in fashion photography with my twin-sister, but now we work mostly separately.

Recently I started experimenting with filmmaking and diversifying into different genres of photography.

La nostalgie d’ amour, Horst Kistner



Adrian Markis


Fotógrafo argentino de 31 años con residencia en la ciudad de Buenos Aires.

Sus estudios de fotografía comenzaron por el año 1992 estudiando en varias escuelas de fotografía porteñas, Bellas Artes, Foto Club Argentino, Foto Club Buenos Aires, Escuela Creativa de Andy Goldstein, Escuela Motivarte.

Trabajó en asistencias a fotógrafos durante varios años, por el 2003 comienza su desarrollo profesional independiente, comenzando a trabajar para editoriales y  agencias de publicidad.

En el 2004, abre su propio estudio de fotografía publicitaria, y se especializa en publicidad.

Es profesor de fotografía, enseña en Buenos Aires y Montevideo, en el ámbito comercial trabaja para empresas, editoriales internacionales y agencias de publicidad.

Las fotografías de Adrián son potentes, cargadas de tensión, emotividad y sensaciones.

Hasta sus trabajos más documentales están tan colmados de subjetividad que resulta imposible apreciarlas sin comprometerse emocionalmente.

Son imágenes donde lo bello es hermoso y lo oscuro tiene una densidad desgarradora.

El proceso creativo responde siempre a una inquietud inicial: resolver una búsqueda estética.

Su proceso tiene una clara premisa: hacer, hacer y no dejar de hacer nunca.

Cuando deja de sacar fotos por un tiempo, siente culpa.

Piensa que lo más importante es estar haciendo constantemente, y es por eso que nunca se detiene.

Los resultados no son ingenuos: con sus trabajos, Adrián aborda temáticas tan profundas, dolorosas y vigentes como la desigualdad social, la tensión y violencia con la que se vive en la ciudad,   la mediocridad de la vida moderna o lo asfixiante y aplastante que puede resultar la rutina.

Texto: Pedro Palacios

WebSite: Adrian Markis



Noell S. Oszvald


juxtapoz-Noell_S_Oszvald 1









Johanna Knauer





James Whitlow Delano

Kabuli boys show off their captive bird in the old city, Afghanistan.

I’ve always been strongly affected by the environment, since I was a young child living beside a nuclear research lab in California.  It was not outside of town but in it.  Sometimes we’d hear, and feel, open-air explosions, some of which, I would learn later, contained depleted uranium.  It was the height of the Cold War and people did not ask many questions then.  At 7, we moved to the industrial New York City metropolitan area.  Industrial contamination was so close to our leafy neighborhood, the wind sometimes carried fumes from refineries shattering our Rockwellian pretensions.  Early on, I hatched a plan to move back westward away from the city to where there were mountains and forests; to the Rockies, then California again before landing in Tokyo. Naturally, I suppose, I became a documentary storyteller and a collector of visual evidence from my base in Asia for the past 2 decades.  The documentary work focuses on humanity’s relationship with the environment and the ecological consequences of rapid development in East Asia, including violations of indigenous land and human rights.  On the street, an “out of the corner of the eye” immediacy drives the work to peer beneath the surface at what is unspoken.

The work has been published and exhibited throughout the world and led to four monograph photo books, the first being “Empire: Impressions from China” and the latest on the “Black Tsunami: Japan 2011” on the epoch-changing triple disaster in Japan.  Projects have been cited with the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar), etc.  In 2015, I founded EverydayClimateChange (ECC) Instagram feed, where photographers from 6 continents document global climate change on 7 continents. ECC bears witness that climate change is not happening “over there” but it is also happening right here and right now.  ECC is not a western view on climate change because photographers come from the north, the south; the east and the west; and are as diverse as the cultures in which we were all raised.


Larry Towell


Magnum Photos

Pedro Luis Raota


Pedro Luis Raota (1934 – 1986) fue un fotógrafo argentino conocido internacionalmente, se le considera uno de los mejores fotógrafos del mundo y es, sin duda, el fotógrafo argentino que mayor número de premios ha recibido en concursos y salones fotográficos de todo el mundo.

Su fotografía mostraba, a veces, el lado dramático de la vida, pero siempre trataba los temas con ironía y humor. A veces se le criticó porque algunas de sus fotografías fueron preparadas previamente, pero él siempre respondía : “Un fotógrafo imagina una imagen, y si esa imagen que imagina no existe, la creará como hace un director de cine”.

Sabine Weiss



Snjezana Josipovic



Bintoro Bink



Shomei Tomatsu


A photographer looks at everything, which is why he must look from beginning to end. Face the subject head-on, stare fixedly, turn the entire body into an eye and face the world.

Shomei Tomatsu

William Eugene Smith


William Eugene Smith was born in 1918 in Wichita, Kansas. He took his first photographs at the age of 15 for two local newspapers. In 1936 Smith entered Notre Dame University in Wichita, where a special photographic scholarship was created for him. A year later he left the university and went to New York City, and after studying with Helene Sanders at the New York Institute of Photography, in 1937 he began working for News-Week (later Newsweek). He was fired for refusing to use medium-format cameras and joined the Black Star agency as a freelance.

Smith worked as a war correspondent for Flying magazine (1943-44), and a year later for Life. He followed the island-hopping American offensive against Japan, and suffered severe injuries while simulating battle conditions for Parade, which required him to undergo surgery for the next two years.

Once recuperated, Eugene Smith worked for Life again between 1947 and 1955, before resigning in order to join Magnum as an associate. In 1957 he became a full member of Magnum. Smith was fanatically dedicated to his mission as a photographer. Because of this dedication, he was often regarded by editors as ‘troublesome’.

A year after moving to Tucson to teach at the University of Arizona, Smith died of a stroke. His archives are held by the Center for Creative Photography in Tucson, Arizona. Today, Smith’s legacy lives on through the W. Eugene Smith Fund to promote ‘humanistic photography’, founded in 1980, which awards photographers for exceptional accomplishments in the field

Anuchit Sundarakiti



Cindy Sherman





Kristen Hatgi


A Few years ago studying at the Art Institute of Boston I became aware of wet plate collodion and how it was being used by contemporary photographers such as Mark Osterman and France Scully Osterman and Sally Mann. I had no idea what it involved or where to begin. All I had heard was “it is difficult and dangerous.” Both sounded right up my ally, but still illusive. Soon after my initial interest, and by great luck, I was introduced to the process by a friend traveling through Denver, Mark Katzman. He made a few portraits of my partner Mark Sink and me.  I was thereafter memorized and completely determined to make them myself. It was now real and possible. I went back to school in Boston and spent those two semesters collecting chemicals, knowledge and equipment. After graduation, Mark and I started off the summer with a huge crash course in wet plate collodion, spending all our free time shooting. Gathering chemicals, equipment, beautiful faces, bodies, flowers, and ideas. We became a team; each being the others inspiration, muse, assistant, plate coater, chemical mixer, costume designer, and lunch maker. Our hands, feet, cloths and often face were marked with silver nitrate stains. It has been my great obsession ever since.

White Silence, Pavel Tereshkovets

© Pavel Tereshkovets-001

Pavel Tereshkovets is a fine art and documentary photographer from Belarus, now residing in San Francisco, California.

Raised up in a travelling addicted family Pavel began to make photographs already in his childhood. He travelled with his old soviet cameras a lot and visited almost all countries of Europe as well as former soviet countries, Israel, the Jordan, North Africa and the USA already by the age of 20. “The feeling of endless freedom during these trips, – says the author, – was the point where my inspiration for photography began”.

Having a stable job position Pavel was trying to combine his creative addictions like music, photography and writing with his work. But 2010 he suddenly drops his job and decides to dedicate his life to things he really likes. He starts playing in a rock-n-roll band, keeps on writing his first book and travels all around the world. It all serves him as an inspiration in his world of photography.

In 2012 he works as a freelance photographer in China and then moves to the United States.

Pavel’s works are widely filled with ideas of loneliness, isolation and emptiness. He tries to uncover the human being’s nature and its feelings, fears and instincts. The author appeals to the problem of people who are alone even when among thousands of others. Being a very sociable person he though inclines in his works towards the opposite and dark side of his life.