Raúl Cañibano Ercilla

Mi nombre es Raúl Cañibano Ercilla. Nací en la ciudad de La Habana un 10 de agosto de 1961. Mi infancia transcurrió entre el campo y la ciudad ya que desde pequeño residí junto a mi familia materna en la provincia de Cienfuegos primero y luego en el central azucarero Argelia Libre en la provincia de las Tunas. Años más tarde me gradué, en la capital del país, como técnico en soldadura comenzando a laborar como soldador en la aviación civil hasta el año 1988.

En el año 1989 comencé a sentir curiosidad por el mundo de la fotografía por lo que decidí aprenderla de forma autodidacta. En esos años no existían en el país escuelas ni talleres en donde estudiarla, de manera que me propuse asimilarla aprendiendo las artes universales para lo cual comencé a frecuentar la Biblioteca Nacional de Cuba a fin de informarme teóricamente sobre historia del arte, composición y las técnicas de revelado e impresión. Paralelamente laboraba en un estudio fotográfico de nombre “Caracas” donde me desempaña como laboratorista. Alternaba así la teoría de la literatura con la práctica diaria de un estudio fotográfico, e incursionando en mis primeras fotografías artísticas. En el año 1990 iniciaba el llamado “periodo especial” en Cuba, tras el derrumbe del campo socialista en Europa, lo que limitó el comercio con esos países, provocando la ausencia de materia fotográfico, entre otras escaseces y por tanto parte de los films que usaba en esta época era material vencido, lo que conllevó a que perdiera muchas de las primeras fotografías importantes realizadas.

Ginette Riquelme

Ginnette is a Chilean independant photographer based in Mexico city, Mexico. After graduating with a Photojournalism degree, she began photographing for several Santiago based newspapers. Since that time she has aslo worked as a photojournalist for the Associated Press (AP) in Honduras, Central America; as a Photo Editor for the French magazine Psychologies in Mexico, and as a photojournalist for Xinhua in Madrid, Spain.
In 2009-2010 she participated in a photographic digitization project for the Santa Maria La Real Foundation in Spain, where interest has developed in this area. In 2013, collaborated with the Pedro Meyer Foundation in Mexico. Also, she worked for the Historic Archive of National Museum of Anthropology, in Mexico city.

Jake Borden

Jacob Borden ( 1993) is an American photographer based in the Hills of Western Massachusetts. Raised on an organic sheep farm in upstate New York, his work in the medium began after discovering world renowned photographer John Stanmeyer lived near by. In 2014 he began an apprenticeship with the photographer, managing his extensive archive and assisting with the production of multiple National Geographic projects both at home and abroad.
Since 2017, he has been working on a series of personal projects in the United States and internationally, focusing on the longterm effects of conflict. The series “In Ruins”, chronicling the lives of IDPs living in the Republic of Georgia, won first place in the 2017 Tbilisi photo festival and was a finalist for the 2019 Burn Emerging Photographer award, and was published by the BBC and Vice News.
In 2018, he moved to Beirut,Lebanon with generous support from the Alice B. Henriquez Memorial Fund to continue a series of work chronicling refugees from the Syrian conflict living in Lebanon’s Bekaa Valley while studying anthropology and Arabic at the American University of Beirut. During that time he received mentorship from some of the leading names in the industry through the 2019 VII Masterclass in Poland and the Eddie Adams Workshop, one of the world’s most prestigious photography seminars.

Lu Nan

 

Lu Nan is given the name “the most legendary photographer in China”. His legend comes from his unique characteristic and his mysterious creative experience. During fifteen years’ of his photography career, Lu has been a preacher of imagery. For many people in the Chinese photography world, he seems to be even more famous in the “art” circle. One of his early pieces Add One Meter to a Nameless Hill has become one of the classic images in the Chinese contemporary art history. Lu is the first Chinese photographer who’s recognized by the well-known Magnum Photos. He is also the only Chinese photographer that had been featured in the APERTURE magazine. Lu is constantly invited to participate in numerous exhibitions; however, he is extremely selective about the exhibitions he is involved with. Lu also refused to have his portrait taken by others, so it’s very rare to see any photo documentations of him. For fifteen years, Lu has been leading a life that’s almost like a monk, spending his time working and studying. Lu believes in that “good stuff comes out of reticence.”

Michel Vanden Eeckhoudt

Coming from a tradition of reportage linked intimately with the press, he began his personal work with ensembles devoted to the “Concours belges” and immigrants to his country. Since he began looking through his Leica’s viewfinder, he has created pure and elegant photographs marked by a constant sense of humour. This balance has allowed him to adopt a fair and playful distance from what is going on before his eyes. His resulting compositions are arranged with a steady eye while managing to transform real life moments into often mysterious images without reverting to the anecdotal.
Although he often provokes a smile, this initial reaction turns instantly to a series of questions on the nature of what he is showing us. His effective use of reflections is especially troubling in this regard. In this sense – or the absence of sense – he acknowledges the attitudes or situations of his subjects.
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Johan van der Keuken

Johan van der Keuken was a Dutch documentary filmmaker, author, and photographer. In a career that spanned 42 years, Van der Keuken produced 55 documentary films, six of which won eight awards. He also wrote nine books on photography and films, his field of interest. For all his efforts, he received seven awards for his life work, and one other for photography.

Eugene Trutat

Eugène Trutat (25 August 1840 – 6 August 1910) was a French naturalist, mountaineer, pyreneist, geologist and photographer, who was curator of the Museum of Toulouse.
He began taking photographs in 1859, and produced almost 15,000 over the course of the next fifty years, covering a wide range of topics.

Lisette Model

Lisette Model began her creative life as a student of music. Through avant-garde composer Arnold Schönberg, with whom she studied piano, she became exposed to the Expressionist painters of early twentieth-century Vienna. She never formally studied photography but took it up in the 1930s while living in Paris. An early piece of advice received from a colleague–“Never photograph anything you are not passionately interested in”–became her motto.
Model’s images can be categorized as “street photography,” a style which developed after the invention of the hand-held camera, which made quick, candid shots possible. Through her own complicated personal history, she found intensely empathetic connections with her disparate subjects.
Model eventually settled in New York, where she met with quick success as a commercial photographer for Harper’s Bazaar magazine and as an artist with her work exhibited at the Museum of Modern Art. For thirty years she taught photography in New York, where she instructed and befriended Diane Arbus.

Antanas Sutkus

Documentary photographer, founder and chair of the Union of Lithuanian Art Photographers. His main theme is the people of his country, but his most known photograph is a portrait of Jean-Paul Sartre. In recent years he works with his archives most of his time, choosing photographs that were impossible to print in the Soviet Union.

Alberto Korda

Alberto Díaz Gutiérrez, más conocido como Alberto Korda (14 de septiembre de 1928 – 25 de mayo de 2001) fue un fotógrafo cubano. Es célebre por la famosa fotografía tomada al Che Guevara mirando el cortejo fúnebre de los muertos en el atentado terrorista al barco La Coubre, el 5 de marzo de 1960. En la década de 1940 cursó clases comerciales en el Candler College y en la Habana Business Academy, los dos situados en La Habana. Junto a Luis Pierce (Luis Korda) fundó los estudios Korda, donde trabajó entre 1953 y 1968, en los que realizaban toda especie de trabajos comerciales. Aunque su formación es autodidacta aprendió fotografía en un inicio con Newton Estapé y después con Luis Pierce. Con el triunfo de la Revolución Cubana en 1959, trabajó para la Revolución y acompañó a Fidel Castro como fotógrafo en distintos recorridos que el líder cubano realizaba en esos años. 1960 fue el año que cambiaría su vida, ya que fue durante este año cuando realizó la famosa fotografía El Guerrillero Heroico, la cual a consideración de grandes críticos es uno de los mejores retratos fotográficos y constituye la imagen más reproducida de la historia de la fotografía. Sin embargo parte de su grandeza se ha visto oscurecida a causa de que muchas de las fotos que se le adjudican podrían no haber sido hechas por el propio Korda sino que las habría comprado a otros fotógrafos contemporáneos suyos.
Fue fundador de la fotografía submarina en Cuba. En 1968 se dedicó a la misma en el Instituto de Oceanología de la Academia de Ciencias realizando el Atlas de Corales Cubanos. Su obra fotográfica se ha expuesto en las principales galerías del continente europeo y en América, así como en otras partes del mundo. Entre sus presentaciones personales están en 1962, Helsinki, Finlandia; 1985, Gallería H. Diafragma Canon, Milán, Italia; 1986, Galería Servando Cabrera, La Habana; 1988, “Festa de L’Unita”, Rosignano, Italia; Centro Cultural de Buenos Aires, Buenos Aires, Argentina; 1989, Maison de la Culture de la Seine Saint Denis, París, Francia; 1990, Galerie du Jour Agnés B, París, Francia; y en Kulturhuset Slurpen, Oslo, Noruega; 1991, 4.ª. Bienal de Fotografía de Córdoba Alcázar de los Reyes Cristianos, Córdoba, España; 1995, Museo Ken Damy de Fotografía Contemporánea, Brescia, Italia; 2000, Roy Boyd Gallery, Chicago, Illinois, EE.UU. y ademas muchas exposiciones colectivas. Entre los premios obtenidos están en 1959, Premio Palma de Plata. Mejor Fotorreportero del Año. Periódico Revolución, La Habana; 1960-1963; 1979 Tercer Premio. 5.º Premio Internacional de Fotografía Submarina “Maurizio Sana”, Italia; 1982, Distinción por la Cultura Nacional. Consejo de Estado, República de Cuba; 1994, Orden Félix Varela de Primer Grado, Consejo de Estado, República de Cuba. Sus principales obras se encuentran expuestas en Casa de las Américas, La Habana, Cuba, Center for Cuban Studies, Nueva York, EE.UU., Centro Studi e Archivio della Comunicazione, Universidad de Parma, Parma, Italia, Consejo Mexicano de Fotografía, México, D.F., México, Fototeca de Cuba, La Habana, Cuba, Galleria IF, Milán, Italia, Galleria Il Diafragma Kodak, Milán, Italia, Maison de la Culture de la Sein Saint Dennis, París, Francia, Museo Nacional de Bellas Artes, La Habana, Cuba, Museum of Art, Fort Lauderdale, Florida, Estados Unidos.
De 1968 a 1978 se concentró en la fotografía submarina, hasta que una exposición japonesa en 1978 estimuló el interés internacional en su trabajo. Apareció brevemente en una secuencia de la pelicula de Wim Wenders Buena Vista Social Club en 1999, aunque no fue nombrado. Korda sufrió un ataque cardíaco fatal en París en 2001 al presentar una exposición de su obra. Está enterrado en el Cementerio de Colón, de La Habana.

Vladimir Lagrange

Vladimir Lagrange was born in 1939 in Moscow. His interest in photography came from his parents: his father worked as a correspondent for the Pravda newspaper, and his mother was a photo editor. In 1959, he comes to work in the TASS photo chronicle as a student of a photojournalist, where he will spend four years, and then for a long time his professional life will be associated with the magazine Soviet Union.
Vladimir Lagrange is known as the “thaw photographer”, a time when the pictorial canon is changing: romantic young people come to replace courageous heroes in magazines and newspapers, and instead of hard work you could see walks around the city. Vladimir Lagrange was one of the first to understand what forms of expression a new generation is looking for. Vladimir Lagrange was one of the first to understand what forms of expression a new generation is looking for. He spoke to the youth with a new language, being himself a young professional, immersed in the life of the thaw.
In 1962, the exhibition “Our Youth” – one of the main events of the year for domestic reporters ─ opens Lagrange’s photo “Doves of Peace”, which the entire exhibition is built. In May 1962, the magazine “Soviet Photo” publishes this picture on a turn, and it will forever remain the “calling card” of the author. In May 1962, the magazine “Soviet Photo” publishes this picture on a turn, and it will forever remain the “calling card” of the author. The action in the frame takes place on Red Square, but Lagrange shifts accents from official symbols to human emotions, with the result that the whole system of perception works differently, even the Kremlin seems to be “unfrozen”.
In 1963, Lagrange began working in the magazine “Soviet Union” and will stay there for more than a quarter of a century. The magazine, which continued the work of the famous “USSR in construction”, largely created the myth of the USSR. Many doors opened in front of the journal’s correspondent, and Vladimir Lagrange drove the country up and down. In 1987, American publishers implement the large-scale project “One Day in the Life of the Soviet Union,” in which Vladimir Lagrange also participates as a guest author.
Vladimir Lagrange is one of the few authors who traveled abroad during the Soviet era. In 1964 he traveled to France. “I will not write here in detail about those impressions, attitudes, surprise that overwhelmed me,” said the photographer. He photographed a country which was unknown to him and an unusual everyday life, and after returning, overnight printed more than two hundred photographs, most of which were not published. In addition to France, the photographer traveled to Italy, Poland and Afghanistan, where he went to shoot already on the withdrawal of troops.
In 1991, the journal Soviet Union was closed. The era of the USSR has ended. Vladimir Lagrange first goes to Rodina magazine, and then to the Moscow bureau of the French agency Sipa Press and continues to shoot a social report. Despite the change in external circumstances, the photographer remains true to his profession.
The works of Vladimir Lagrange are presented in museums and private collections, his exhibitions were held both in Russia and abroad, and in 2002 the author was awarded the highest award of the professional guild of photographers and the Union of Journalists “Golden Eye of Russia”.

Sol Eide

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Arkady Shaikhet

Arkady Samoylovich Shaikhet was a prominent Soviet photojournalist and photographer. In the history of Soviet photography, Shaikhet is known for a type of journalistic photography called “artistic reportage,” and for photographs of industrialization in the 1920s and 1930s.
His first photographs were published in 1923 and in 1924 he joined the staff of the national magazine Ogonyok. His images were used for their covers from the magazine’s first issue. Shaikhet was one of the founders (together with journalist Mikhail Koltsov) of Soviet Photo in 1926. Starting in 1930 he contributed to USSR in Construction, another Soviet journal.
During the Second World War he created a series of images of the Battle of Stalingrad and later of liberation of Kiev, Ukraine.
The Sovfoto agency, which from 1932 distributed Soviet photography in the West, holds examples of his photojournalism.

Popi Efthimiadou

Busy with photography from an early age, largely self-taught.
I have exhibited my work in Thessaloniki, Athens and Amsterdam.
I photograph the beauty of daily life. I am also busy with abstract and minimalist photography.
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Philip-Lorca diCorcia

 

Philip-Lorca diCorcia’s photographs straddle truth and fiction by combining real people and places—but not necessarily people and places that naturally go together. The theatricality of his images is carefully constructed: he arranges the objects of each scene and devises precise lighting and framing for every project. His work is often described as cinematic, a description that diCorcia deplores. He insists that his pictures suggest rather than elucidate a full narrative. His brand of storytelling results in unstable, unfixed images that point in certain directions but never provide a definitive map.
His earliest work, from the late 1970s, featured his friends and family in scenes that evoke loneliness, contemplation, ennui, or, occasionally, humor. In Mario, diCorcia’s brother stares into an open refrigerator, his late-night mission to unearth a snack infused with inertia. The photograph couples an impression of complete stillness with the eerie, seemingly contradictory sense of witnessing a fleeting moment. Peter Galassi, former chief curator of MoMA’s Department of Photography, described the production of this image: “The subject was utterly ordinary but the photograph was carefully planned. The camera was on a tripod and the lighting was supplemented by an electronic flash hidden in the refrigerator and triggered at the moment of exposure. DiCorcia leveled the camera, adjusted and readjusted the lighting, made several Polaroid test shots and more than a few exposures, each aiming at the envisioned result.”1 DiCorcia’s acute attention to detail has become the hallmark of his process and has influenced a generation of photographers (including Katy Grannan, Justine Kurland, Alex Prager, and Alec Soth, among others) who work with controlled situations and semi-anonymous portrait subjects.
DiCorcia did not set out to become a photographer. While attending the University of Hartford, he studied with Jan Groover, who planted the idea that a photograph is not necessarily an artifact documenting a specific sliver of time; rather, a photograph should result from careful planning and orchestration. Early- and mid-20th-century photographers who also took this approach include Paul Outerbridge, Philippe Halsman, and Bill Brandt. During his graduate studies at Yale University diCorcia begin to classify himself as a photographer by first determining the kind of image-maker he did not want to be. Garry Winogrand, Lee Friedlander, and Tod Papageorge—who rapidly shot many exposures in order to get to a few final images—attempted to capture the real world at a particular moment in time from a specific point of view. Their mid-20th-century work presented diCorcia with a strand of street photography to push against at exactly the same time that color processes began to be used outside of advertising and news photography. DiCorcia deliberately chose to print in color since it was an underutilized format in fine-art photography.
MoMA presented diCorcia’s first solo museum exhibition in 1993, featuring his series Hustlers, which was made in Los Angeles between 1990 and 1992. He photographed male prostitutes he approached on Santa Monica Boulevard, paying them whatever they typically charged for their services to instead pose in scenarios he had prepared for the photo sessions. The titles of these photographs, such as Eddie Anderson; 21 Years Old; Houston, Texas; $20, list only the facts. Yet by inserting their bodies into prepared scenes in hotel rooms or on the street, diCorcia made portraits that operate in tandem with—but do not exactly reproduce—the fantasy roles these men were usually conscripted to play.
Having worked outside on the Hustlers series, diCorcia delved further into street photography. As he explained, “The elements which call into question the normal relationship of appearance to truth in photography are, for most artists of my generation, tools to enrich the experience of work rather than ends in themselves.”2 Taking the work of Garry Winogrand in particular as a starting point, diCorcia reinvigorated the genre in the 1990s by freezing the ebb and flow of a city sidewalk in images such as Los Angeles and New York. By arranging flashes and stationing his camera at a precise location, he suspended slices of time in images that have the quiet stillness of Old Master paintings. For his series Streetwork (1993–97) and Heads (2000–01), he took thousands of photographs, of which he selected only a handful for inclusion. Unlike other practitioners of street photography, diCorcia never wanted his images to propagate a moral truth or instigate social change.

Sergio Larrain

 

 

 

 

Sergio Larraín Echeñique, fotógrafo. Nació en Santiago, Chile, el 5 de Noviembre de 1931. Falleció en Tulahuen, Ovalle, Chile, el 07 de febrero de 2012.
Creció en un ambiente familiarizado con las artes y la cultura; su padre, Sergio Larraín García Moreno, fue uno de los arquitectos más destacados de América del Sur, amigo de pintores como Josef Albers y Roberto Matta.
Entre 1949 y 1953, viajó a Estados Unidos donde estudió Ingeniería Forestal durante un año y medio, inicialmente en la Universidad de California, Berkeley, y más tarde en la Universidad Ann Arbor en Michigan. Durante estos años trabajó para conseguir estabilidad económica, lo que lo llevó a poder comprar su primera cámara fotográfica, una Leica IIIC, que le cambió la vida.
Dejó los estudios para volver a Chile, de donde partió nuevamente a un viaje familiar por Europa y Oriente Medio, para intentar calmar el dolor profundo por la muerte accidental de su hermano menor. Este viaje ayudó a que el artista tomara la decisión de adoptar la fotografía como su forma de expresión. A su vuelta en Santiago, se retiró a vivir en la comuna de La Reina, un área semi rural en esos años. Colaboró con instituciones como el Hogar de Cristo y Fundación Mi Casa, para apoyar a los niños que viven en situación de calle. Una serie de estas imágenes las recibió Edward Steichen, curador de fotografía en el Museo de Arte Moderno de Nueva York, quien las compró. Entre 1956 y 1959, trabajó como fotógrafo freelance y también para la revista internacional brasilera «O Cruzeiro»
En 1958, expuso sus fotografías en el Museo Nacional de Bellas Artes de Santiago, junto a las pinturas de Sheila A.W. Hicks, artista norteamericana becada en Chile por la Comisión Fullbright.
En 1959 fue becado por el British Council para viajar a Londres por cuatro meses, donde realizó su afamada serie sobre dicha ciudad. Ese mismo año, Sergio Larraín conoció a Henri Cartier-Bresson, fotógrafo francés, quién le propuso incorporarse a la agencia Magnum, que provee de material fotográfico a las grandes revistas europeas y norteamericanas. Larraín se instaló en París, donde colaboró con algunas de las revistas especializadas más prestigiosas. Destacan su reportaje a la Mafia Siciliana, su reportaje al matrimonio de Farah Diva y el Sha de Irán, y el reportaje elegido por la revista francesa Paris Match, donde publicaron 16 páginas a color sobre la Isla Juan Fernández.
A comienzos de los años 60 regresó a Chile, con el propósito de ahondar en las temáticas que más le interesaban, sin las exigencias comerciales de la prensa internacional: la gente y el entorno de Valparaíso, que ya había fotografiado en numerosas ocasiones. Trabajó con el poeta Pablo Neruda, en la realización de un libro para la Editorial Lumen de Barcelona, y luego para realizar fotografías sobre Valparaíso que fueron publicadas primero en la revista DU. Atlantis, en 1966, acompañadas por un texto de Pablo Neruda.
Mucho después, en 1991, la Editorial Hazan publicó el libro Valparaíso con ocasión de la exposición de Les Rencontres de la Photographie de Arles. En esta época fotografió la casa del poeta en Isla Negra, Chile, trabajo publicado en su libro Una casa en la arena.
En 1965, movido por la meditación transcendental y las filosofías orientales, se alejó en la práctica de las colaboraciones con Magnum. En 1969 se instaló en Arica, al Norte de Chile, para seguir durante tres años las enseñanzas del maestro espiritual boliviano Oscar Ichazo.
A partir de 1973, Sergio Larraín se trasladó a Ovalle, para dedicar la mayor parte de su tiempo a la lectura, la pintura al óleo, la meditación, el yoga, profundizar en el desarrollo personal y muy poco a la fotografía.
En 1999, El Instituto Valenciano de Arte Moderno, IVAM, de España, le dedicó una retrospectiva, cuyo éxito provocó que lo asediaran en los medios internacionales. A consecuencia de lo cual, exigió que en el futuro se lo mantuviera al margen de toda reflexión sobre su obra.
No obstante, hasta el final continuó enviando a la agencia sus hojas de contacto, con sus últimos negativos para que Magnum custodie el conjunto de sus fotografías.

Don Hudson

I was born in Detroit, Michigan in 1950 and have lived in the area my entire life. In 1972 I decided to act on my love of photography and enrolled in art school. During my two years there I studied the language, both the history and the history-in-making, honed my technical skills, and most importantly, began an association with like-minded souls playing the game of photography. For 40 years, through peaks and valleys of activity, my playing of the game has been about my personal relationship with how the camera describes the appearance of truth in a photograph. You will have to look at the photographs for further explanation. I consider myself a thoughtful, and proudly amateur photographer. A book of my photographs from the last century, From The Archives, has recently been published in France.

Pedro Valtierra

Pedro Valtierra nació en Fresnillo, Zacatecas, el 29 de junio de 1955. Se inició en 1973 como auxiliar de laboratorio de fotografía y a partir de 1975 se desempeñó como fotógrafo en la Presidencia de la República. En 1977 ingresó al periódico El Sol de México y un año después se incorporó al diario unomásuno que dirigía Manuel Becerra Acosta.
En 1984 creó la Agencia de fotografía Imagenlatina; el mismo año fue fundador y jefe de Fotografía del diario mexicano La Jornada en un primer periodo de 1984 a 1986 y por segunda ocasión de 1995 al 2000.
En 1986 fundó la Agencia de fotografía Cuartoscuro, de la que es director hasta la fecha y desde 1993 edita la revista del mismo nombre, de la que también es director.
Fue presidente de la Sociedad de Autores de Obras Fotográficas de 1988 a 1991. De 1990 a 1992 dirigió la revista Mira junto con el periodista Miguel Ángel Granados Chapa.
En 2006 fundó la Fototeca de Zacatecas Pedro Valtierra, la cual dirige hasta la fecha. El fotógrafo ha destacado por su gran labor fotoperiodística dando testimonio de los sucesos noticiosos internacionales más importantes en los últimos 30 años, entre los que se hallan: la Revolución Sandinista, (1979), el movimiento revolucionario de las Fuerzas Armadas de la Resistencia Nacional (FARN) en la República de El Salvador (1980), la lucha de la Unión Revolucionaria Nacional Guatemalteca en 1982 y ese mismo año el levantamiento del Frente Polisario de la República Árabe Saharauí Democrática en contra del gobierno de Marruecos en 1982, la caída en Haití del dictador Jean Claude Duvalier en 1986, la visita del Papa Juan Pablo II a Cuba en 1988 y fotorreportajes en Venezuela, Colombia, Panamá, Chipre, entre otros países.
En el ámbito nacional, Pedro Valtierra realizó una cobertura fotográfica sobre diversos acontecimientos de gran importancia histórica para nuestro país tales como la nacionalización de la banca en 1982, los terremotos de 1985, los conflictos poselectorales de 1988, el levantamiento armado del Ejercito Zapatista de Liberación Nacional (EZLN) en 1994, el asesinato de Luis Donaldo Colosio, además de reportajes sobre diversos aspectos socioculturales de México: la comunidad Oaxaqueña del El Trapiche, Xococapa en la Sierra de Veracruz y Golochán en Chiapas, la migración, los indígenas de la Sierra Tarahumara, entre muchos otros. Ha retratado a destacados personajes de la historia reciente de México y otras partes del mundo, ex presidentes, políticos, líderes religiosos, empresarios, escritores, artistas: Jorge Luis Borges, Octavio Paz, Jaime Sabines, José Saramago, Gabriel García Márquez, Elena Poniatowska, Carlos Montemayor, Rufino Tamayo, José Luis Cuevas, Gabriel Figueroa, Carlos Monsiváis, María Felix, se cuentan entre éstos.
Desde 1984 imparte talleres y conferencias de fotoperiodismo mexicano contemporáneo en medios de comunicación y universidades.
En el medio editorial Pedro Valtierra ha participado en diversas publicaciones, entre las que se encuentran, en 1980, La Batalla por Nicaragua publicado por el periódico unomásuno en 1980 por y ese mismo año también participa en el libro Nicaragua, un país propio editado por la Universidad Nacional Autónoma de México.

Horacio Coppola

Coppola was born in Buenos Aires, the youngest of 10 children. His parents, Italian immigrants, were well off, and he studied art, music, law and languages. He was about 20 when he began taking photographs.
He traveled to Europe in the 1920s and ’30s. Photography was coming into its own as an art form, with pictures being shot from odd angles and cropped for effect.
He met his future wife in Germany. Later, in London, he took portraits of famous artists, and worked on a book about Mesopotamian artifacts in the Louvre and the British Museum. He and his wife went back to Argentina in 1936. That year, he was commissioned to photograph Buenos Aires for its 400th anniversary, and produced streetscapes that captured the romance, vitality and squalor of a great city.
He and Ms. Stern had a daughter, Silvia, and a son, Andres. They later divorced. In 1959, Coppola married Raquel Palomeque, a pianist.
Coppola was the author of the photographs that appeared in the first edition of “Evaristo Carriego” (biography) (1930) by Jorge Luis Borges. He was one of the pioneers photographers from Argentina and a key figure in Modernism. He studied in the Bauhaus during the thirties.
He was named “Illustrious Citizen of Buenos Aires” and at 100 had a retrospective exhibit at the Malba Museum in Buenos Aires.

Mario De Biasi

 

Deported in Germany, Mario de Biasi begins to take photographs in 1944 thanks to a camera found in the rubbles of Nuremberg. He becomes famous with his portraits of actresses such as Claudia Cardinale, Brigitte Bardot or Sophia Loren alongside the depiction of the Iran Shah’s wedding. Yet what earned the Italian photographer the nickname of the ‘Italiano pazzo’ (the mad Italian) was his reports of conflicts such as the Hungarian revolution of 1956 or extreme experiences such as his Siberian exploration, throughout the world. Uniting the glamour of actresses to social episodes, Mario de Biasi created one of his most iconic images thanks to a group of Italian men observing the curvaceous back of Moira Orfei.