Harry Gruyaert


Born in Antwerp in 1941 and a member of Magnum Photos since 1982, Harry Gruyaert revolutionized creative and experimental uses of color in the 1970s and 1980s. Influenced by cinema and American photographers, his work defined new territory for color photography: an emotive, non-narrative, and boldly graphic way of perceiving the world.

In 1972, while living in London, Gruyaert created the striking series TV Shots by turning the dial on a television set at random and photographing the distorted images he saw there. A later series, Made in Belgium, portrays his ambivalent relationship with his homeland in a palette of saturated tones. In his most recent work, he embraces the possibilities of digital photography, taking further creative risks to capture light in new ways.

Gruyaert’s images are autonomous, often independent of any context or thematic logic. This volume, the first retrospective of his work, is a superb overview of his personal quest for freedom of expression and the liberation of the senses.


Kristina Syrchikova

Kristina Syrchikova is a documentary photographer and a visual storyteller based Samara, Russia.

Her work primarily focuses on social and human rights issues in post-Soviet space. 

Kristina first studied information technology, before turning to contemporary photography at the FotoDepartament Institute and documentary photography at the DocDocDoc School in St Petersburg. 

Kristina’s work has been recognized with industry awards such as New Talents, Marilyn Stafford FotoReportage Award 2018, The Kolga Photo Award, Efremov Report Photography Competition, ESPY Photography Award, Young photographers of Russia among others.

Her work has been presented in exhibitions and screens in Russia and abroad, including Asian Women Photographers’ Showcase (Objectifs, Singapore, 2017), Orvieto Fotografia 2017 (Palazzo Coelli, Orvieto, Italy, 2017), Third Documentary Photography Days (Photography Foundation of Turkey, Istanbul, Turkey, 2016), Evolution of sight. 1991−2016 (Photobiennale 2016, Central exhibition hall Manege, Moscow, Russia).
Her work has appeared in multiple online and print publications worldwide including Musee Magazine (USA), Der Greif (Germany), COLTA.RU (Russia), Takie Dela (Russia), IM Magazine, Foto&video (Russia), dekoder, Science and Life (Russia), Russian reporter, Splash & Grab, Bird In Flight, Dodho Magazine, FOG (Germany).
She is a member of The Russian Union of Art Photographers.


Jeremy Mann


Dougie Wallace

Glasgow born, London-based photographer Dougie Wallace is a shutterbug whose artistic vision extends outside of the realm of traditional fashion photography.
Dougie Wallace’s website describes him as a “documentary photographer,” and the snaps included in this collection of his street photography only serves to strengthen the claim. His street style shots eschew the conventions associated with the burgeoning field of candid street photography. Instead of taking pictures of well-coiffed and elegantly dressed streetwalkers, Dougie Wallace shoots subjects that are notable for their ridiculousness.
Some highlights of Dougie Wallace’s street flicks include a shot of a well-oiled, slightly overweight, middle-aged man clad only in a blue speedo and 1970s aviator frames. The image, like most of Dougie Wallace’s, is hard to turn away from and leaves the viewer with conflicting feelings of humor, intrigue, and confusion.

Jane Evelyn Atwood








Born in New York and living in Paris since 1971, Jane Evelyn Atwood is one of the world’s leading photojournalists. In 1976, Atwood bought her first camera and began taking pictures of a group of street prostitutes in Paris. It was partly on the strength of these photographs that Atwood received the first W. Eugene Smith Award, in 1980, for another story she had just started work on: blind children. Prior to this, she had never published a photo.
In the ensuing years, Atwood has pursued a number of carefully chosen projects-among them an 18-month reportage of one regiment of the Foreign Legion, following the soldiers to Beirut and Chad; a four-and-a-half-month story on the first person with AIDS in France to allow himself to be photographed for publication in the press (Atwood stayed with him until his death); and a four-year study of landmine victims that took her to Cambodia, Angola, Kosovo, Mozambique and Afghanistan-always with the same personal and passionate approach.
Jane Evelyn Atwood’s work reflects a deep involvement with her subjects over long periods of time. Fascinated by people and by the idea of exclusion, she has managed to penetrate worlds that most of us do not know, or choose to ignore. She limits her stories to those which truly compel her, devoting to each subject the time necessary-in some cases, years-to explore it in depth. In 1989 she started to photograph incarcerated women, eventually managing to gain access to some of the world’s worst penitentiaries and jails, including death row. This monumental ten-year undertaking- encompassing forty prisons in nine countries of Europe and Eastern Europe, and the United States-remains the definitive photographic work on women in prison to date. It was published as a book in both English and French in 2000 and continues to be exhibited internationally. (see Books; Exhibitions)
Atwood’s particularity as a photographer lies in her in-depth approach, but she has also covered such news events as the Kobe earthquake of 1995, the World Trade Center attacks on September 11, 2001, and the Democratic National Convention in 2004.
Jane Evelyn Atwood describes her method of work as “obsessive”. She does not move on to a new subject until she feels she has completely understood the one at hand and her own relation to it, and until she believes that her pictures reflect this understanding.

Jack Birns

Jack Birns (1919–2008) was an American photographer. He was well known in photographic circles as an award-winning foreign correspondent for Life magazine, and in the commercial diving world as President of BIRNS Incorporated.
In 1946 Birns moved to Los Angeles, California, and free-lanced as a magazine photographer for a year, during which time he set a record for free-lancers working for LIFE: 30 pages and a cover in 6-months’ work. LIFE hired Birns to cover the Civil war in China and during 1947 he set another record for LIFE staff photographers for pictures and pages, as he captured on film a vast country undergoing fundamental changes, and a society characterized by poverty, petty crime, homelessness and military rule. During this time, Birns was paired with journalist Roy Rowan. This energetic war coverage (China, Burma, India, Philippines, and Malaysia) won for Birns a coveted recognition from the prestigious Overseas Press Club of America. For the first time in its history the OPC established a special award for photographers to honor Birns’s work, and the award was given to Birns by General George C. Marshall, chief of staff during WWII and, later, Secretary of State.

Sara Zanella


I started photographing at high school with a Contax T3 with black and white film because I could develop them in my mother‘s bathroom and work independently. When I discovered photography I could find a way to see my daily life differently, I learnt to have a step inside my surroundings, into the nature of my relationships and environment and also a step outside of the everyday life, that let me read beyond the appearances and find another sphere of conception of time before more melancholic then as a endless river of events. From those years I have been photographing diaries, my home, my school, my classmates and my family, at the time I got a really deep encounter with the diaries of Noboyoshi Araki, Nan Goldin and Daido Moryama. In them I found those instincts that were driving me in the photographic process , for example, the closeness to the subject, the condition of solitude, the flowing of life and changes, the power of poetry and love and the movements of curiosity and restlessness that still nowadays are in the core of my work. In these years I acquired and experienced the power of photography. Images are like a window where we can access to a universal human layer, investigating the core of who we are.

I use my curiosity to travel and to explore places I’ve never been, photographing. The center of my work is the research as a human being in the world, the process knowing the world we are living in, the position of men in nature, a journey in the space and in the time in history of humanity and earth. My goal is building a record of this in a poetic and direct way.

What drive me is instinct and curiosity.

Genesis Cabrera

Genesis Cabrera is an Artist – Photographer born in Venezuela and living in New York City. Her work emphasizes her passion for portrait and fashion where through portraits she reflects personality, moods, natural and raw imagery.
Genesis deconstructs her own images adding different elements to create multiple artworks collages and to show different perspectives of the same person.
Her inspirations come from natural human beauty, faces, and artists and photographers such as Horst, Man Ray, Harley Weir and movements like Dadaism.

Chang Chao-Tang

Chao-Tang Chang born in1943 November 17 in Panchiao City, Taipei County, Taiwan. Chang Chao-Tang is Taiwan’s most representative photographer. During the 1960s, in the conservative society of Taiwan, Chang Chao-Tang was a college student, profoundly moved and influenced by the social realist works in literature and surrealist painting. He published a series of absurd works that expressed his sense of ridiculousness and desolation. These included the works “Blurriness”, “White powder on peoples’ faces”, “Figure without a head”, and “Shaken-up image of the body”. He found the camera a direct way to relieve his oppression as well as release his rebellious energy. His unique style made a great impression on Taiwanese photography, and he not only had exhibitions at home but also received international appreciation. In 2013, he had his first major retrospective exhibition in the Taipei Fine Art Museum.

Rachel Woolf

I am a Denver-based independent visual journalist.

My fascination in photography began with a disposable Walgreens camera in Santa Fe, New Mexico. Now, I specialize in documentary photography, videography and portraiture. My work aims to intimately show aspects of humanity intersecting with economic and social issues.

Some of my clients include The New York Times, The Washington Post, CNN, US News and World Report, Bloomberg, Education Week, ESPN Magazine and Getty Images. I graduated from Ithaca College with a B.A. degree in Documentary Studies, attended the Eddie Adams Workshop XXVII in 2014 and the Missouri Photo Workshop in 2015.

My work placed 2nd in the National Press Photographers Association’s Best of Photojournalism Contemporary Issues Story competition and received “Best of Show” in the Michigan Press Photographers Association competition.


Martha Micali

There is not a minute in my day when I am free of the sensation of walking a footbridge half a meter wide between two yawning chasms of nothingness. And it is this word, “nothing,” that I find every moment on the tip of my tongue…
Sometimes I vent by filling an entire page of the present diary with these sacred syllables, “No-thing.” Then, all of a sudden, confidence restored and self imbued with physical wellbeing, as after a shower or a successful defecation, I turn over a new leaf and start writing things again. How could I do otherwise? If in a game one can only cheat or lose, one cheats.
Ever since I have discovered that my dreams are nearly always self-slanders or spiteful gossip at my expense, I don’t pay them much attention, I simply brush them aside. And yet this latest one, with its masked and menacing folly of unreason, leaves a lump in my throat.


Inge Morath




I personally arrived slowly at photography. I studied languages at university, took some courses in journalism, worked first as a translator and then as an editor for the Information Services Branch of the occupying American Forces in Salzburg, later in Vienna. In my spare time I wrote playlets for the Red-White-Red network and articles for various illustrated magazines, among them the Wiener Illustrierte. I started to be asked to supply some suitable photographs with my stories, which left me at a loss. I had never seriously occupied myself with photography; I did not even know a photographer. I had always been passionately interested in painting and drawing, but the artistic poverty of the “Third Reich,” where our only chance to see the major achievements of contemporary art was in (from my side at least) eagerly awaited exhibitions hung in school corridors under the title Entartete Kunst (degenerate art, including Picasso, etc.), provided no possibility for an education in visual matters. So I started to buy LIFE Magazine and photographic books and in my search for photographers I met Lothar Rübelt and Franz Hubmann and Erich Lessing and Ernst Haas.

Meanwhile I had become the Austrian editor of Heute magazine, published by the Americans in Munich, and started to work with Ernst Haas as a photography-writer team. Heute editor Warren Trabant forwarded a couple of our stories to Robert Capa, who summoned us to join the young Magnum Photos in Paris. Supplied with much food and a little money we boarded a train, left Vienna and stayed in Paris. Besides my work with Ernst, I started to write texts for the photographs sent to the Paris office by the then members of Magnum from all kinds of countries: Cartier-Bresson from the Orient, George Rodger from Africa, David Seymour from Greece, etc. I started to accompany different photographers on assignments for which also I had done the preparatory research, and later edited their contact sheets. I think that it is from this work that I learned the most.

A short marriage to an Englishman brought separation from Magnum and a move to London. I continued to write stories but found to my amazement that suddenly now that I was no longer accompanied by photographers the world around me seemed to be filled with things that wanted to be photographed. I had finally discovered my own way to express what interested or obsessed me in a way with which I could live. After the war I had often suffered from the fact that my native language, German, was for most of the world the language of the enemy, and although I was able to write stories in English or French it did not touch the roots. So turning to the image felt both like a relief and an inner necessity.

I took up a period of apprenticeship with Simon Guttmann, who had the reputation of a querulous genius of the picture magazine world; he had played a role in the early days of the Berliner Illustrierte under the Ullsteins. Somewhere along the way, Robert Capa had been one of his apprentices, too. Now Simon Guttmann worked as an adviser to Picture Post. I bought a used Leica, worked incessantly and, as I was known as the only non-photographing person in this milieu and knew I would not be taken seriously if I suddenly showed up with photographs, I turned my name around and, as Egni Tharom, started sending my picture stories to any magazine I thought might be interested. Sometimes I sold something, sometimes I got letters praising my eye but deploring my technique. I spent nights in the darkrooms of professionals, learning a lot as a free assistant. For Mr. Guttmann I stood in front of theatres to take pictures of arriving luminaries, and covered catastrophes like floods and fires.

As I was selling more pictures, my confidence grew. I went back to Paris and worked for three months on a story about the Prêtres Ouvriers (worker priests), the first militant Catholic priests who, as “missionaries within their own country” and with permission from their orders, lived the life of workers in factories and the poorest quarters of Paris. It was a difficult story, and when I finally was finished, pictures enlarged and text written, I decided to risk it. I showed it all to Capa, asking his opinion about the photographs which he liked. So I confessed that I had taken them and after the first shock he said, “Ok, show me the rest of your work; if it is as good we’ll take you.”

So I was invited to join Magnum, first for a year as an associate, then as a full member. There followed many years of constant travel, shooting stories in different parts of the world, as well as industrial work, stills for movies and theatre, fashion, works for art magazines shot with big cameras and, more and more, portraits. In 1956, my first book Fiesta in Pamplona appeared. And so it has really more or less been going on until today.

Giovanni Nogaro


Dario Mitidieri


Pablo Guidali

En 1995 ingresa a la Facultad de Ciencias Económicas de la Universidad de la República (Uruguay). Tres años más tarde, luego de un año sabático de viaje por Europa y Medio Oriente, comienza a estudiar fotografía en forma paralela.
Desde 2002 hasta 2006 trabaja como fotógrafo para la revista Galería del semanario Búsqueda (Uruguay). Al mismo tiempo se desempeña como docente a cargo del taller de fotografía del colegio Latinoamericano (Uruguay).
En 2007 recibe una beca del Gobierno de Francia para realizar estudios de fotografía en dicho país.
En 2010 obtiene el Diploma Nacional Superior de la Escuela Nacional Superior de la Fotografía (ENSP) de Arles (Francia).
En 2010 su trabajo “Fiesta y la mar en coche” recibe el primer premio como libro fotográfico de autor nacional otorgado por el Centro de Fotografía (Uruguay).
En 2011 obtiene la Beca de Ayuda a la Creación, otorgada por el Gobierno de la Región PACA (Francia).
El proyecto “Fábulas”, realizado junto al fotógrafo Erwan Morére, obtiene en 2011 el primer premio del Fondo Concursable para la Cultura (categoría artes visuales) del Ministerio de Educación y Cultura de Uruguay.
En 2012 su trabajo “Beba” obtiene el primer premio en el concurso Fotolibro para autores latinoamericanos organizado por el Centro de Fotografía (Uruguay).
Ha realizado varias muestras colectivas e individuales en Uruguay, Francia y España.
En 2013 fue seleccionado como miembro artista de la Academia de Francia en España – Casa de Velázquez.
Actualmente vive en y trabaja Marsella.

Eugeni Forcano


Eugeni Forcano (Canet de Mar, 1926) entra en el mundo de la fotografía como un vendaval al incorporarse a la revista Destino, Ilamado por Vergés y Néstor Luján, en 1960. Autodidacta e intuitivo, mira con sagacidad, pasión e ironía cuanto le rodea. En 1964 Juan Perucho destacaba la profundidad humana de su obra. Y Josep Pla, siempre parco en elogios, dice de Forcano en 1966: “Es un gran fotógrafo, un gran artista. Es diferente e imprevisible. Singular”. José Corredor–Matheos afirma: “Nos hace ver que la realidad es sorprendente siempre”. Forcano tiene el don de la anticipación. Andrés Trapiello asegura que “lo más importante en sus fotografías es el latido de todo lo que aún vive”. Y Josep Maria Espinàs percibe que “a sus personajes se les oye hablar”.
La fotografía marcó su vida para siempre. Evolucionista y soñador, va cubriendo etapas: moda, ilustración, simbolismo… y una larga investigación sobre el color como nueva forma de expresión artística. Jorge Rueda escribió sobre ella: “Por fin has conseguido fotografiar los suspiros”. Javier Pérez Andújar lo define: “Es, sobre vanguardista, un fotógrafo vitalista que ha entendido el lenguaje de su tiempo”.
Todo parece confirmarlo. Josep Maria Huertas Claveria dice que “es uno de los grandes fotógrafos que ha dado Cataluña”.

Xinjiang, Maxime Crozet

In the northwestern corner of China lies the huge province of Xinjiang (literally: “new frontier”), more rarely called East Turkestan. Until recently, this region was predominantly populated by Uyghurs, a Turkish-speaking and Muslim Sunni people; but also by Kazakhs, Hui, Kyrgyz, Mongolians, Tajiks and other minorities from Central Asia. The Hans (majority of Chinese ethnic group), who have arrived by millions in recent decades, now represent more than 40% of the local population. China’s efforts to quell a separatist movement and sinicize its border regions have turned Xinjiang into a vast social control and domestic surveillance laboratory. It is almost impossible to move around the region without feeling the relentless gaze of the authorities.

In search of new frontiers in the oases that punctuate the ancient Silk Road, beyond empty and solitary spaces, I filled my memory from these horizons with their faces uncovered. In the old alleys of Kashgar, during a game of Buzkashi (game of “catch goat”) or at a traditional Tajik wedding, I let myself be carried by different expressions in search of harmony… leaving at the edge of deserts, steppes and snow-capped peaks of Central Asia, some intimate footprints of peoples in decline facing a new cultural revolution in motion.


Cass Bird

Cass Bird is a Brooklyn-based photographer who creates stunning fashion editorials, with a beguiling taste for that contemporary grit.
Cass Bird’s warm and intrepid depiction of her subjects provides insight into the gritty exuberance of contemporary love and life. Her photographs are featured regularly in magazines such as The New Yorker, Details, Dossier, Paper, and Rolling Stone, as well as in campaigns produced by Converse, Levi’s, Sony, and Nike. Cass made her directorial debut with a film for Sophomore, and then continued to go on to produce work for Levi’s, Lissy Trullie, The Raveonettes, and Sky Ferreira.
There is something different about Cass Bird’s pictures—you can feel it instantly—but it can be hard to put a finger on what exactly the difference is. It seems the subjects, often women, and often the most of-the-moment models or Hollywood stars, are simply responding differently to the taker of the photograph than they normally do. They seem not to be playing the sexpot in the conventional sense, and to be engaging instead in an interaction more playful, and perhaps more authentic. Look at enough of Bird’s pictures and you begin to realize what you are looking at is a female gaze, and how very rare this point of view is in celebrity portraiture.
So it makes perfect sense that Bird, who had dabbled in photography before attending Smith College, traces the origins of her sensibility to her days at that female-only, liberal-arts institution. “I think that’s really where it began for me,” Bird says. “It’s where I began understanding that aesthetics are secondary to curiosity and the individual expression of identity.”
Bird’s refreshing eye is regularly cast on fashion’s biggest stars — she has an ongoing and particularly dynamic collaboration with the model Daria Werbowy — but in the summers of 2009 and 2010, on her own time, she turned it on a group of young women less accustomed to posing in front of a camera. Bird cast these women, which included a couple of her interns as well as someone she met on the street, for their adaptable notions of femininity, and brought them to Sassafrass, Tennessee, to take the portraits which now make up her 2012 book, “Rewilding.”
“For me it’s a very modern way of expressing femininity,” Bird says of the pictures in the hardcover volume, which depict the group of androgynous-looking women climbing trees, forming human pyramids and just generally rollicking in their rural environment. “Whereas in the past to be masculine-presenting was interpreted as a rejection of femininity, I was able to see that femininity can be more inclusive than that.

Franco Pinna


He was born in La Maddalena, on July 29, 1925. In 1952 he moved to Rome and, after a brief experience as a cinedocumentary operator, constituted the cooperative Fotografi Associati together with Plinio De Martiis, Caio Mario Garrubba, Nicola Sansone, Pablo Volta, which was dissolved in 1954 due to economic difficulties. He followed the anthropologist Ernesto De Martino during several research expeditions in southern Italy (Lucania, 1952, 1956, 1959, Salento 1959), obtaining documents of great artistic and cultural value. In 1959 he published his first book, entitled La Sila, which was followed by Sardegna una civiltà di pietra (Sardinia, a stone civilization) (1961). Meanwhile, his photos appear in the magazines Life, Stern, Sunday Times, Vogue, Paris Match, Epoca, L’espresso, Panorama. From 1965 Pinna became the trusted photographer of Federico Fellini and made scene photos of his films Giulietta degli spiriti, 1965, up to Fellini’s Casanova in 1976; he also publishes some photo books (I Clowns, Fellini’s Film) inspired by his films. He died suddenly in Rome on April 2, 1978.

David Seymour

David Szymin was born in 1911 in Warsaw into a family of publishers that produced works in Yiddish and Hebrew. His family moved to Russia at the outbreak of the First World War, returning to Warsaw in 1919.
After studying printing in Leipzig and chemistry and physics at the Sorbonne in the 1930s, Szymin stayed on in Paris. David Rappaport, a family friend who owned the pioneering picture agency Rap, lent him a camera. One of Szymin’s first stories, about night workers, was influenced by Brassaï’s Paris de Nuit (1932). Szymin – or ‘Chim’ – began working as a freelance photographer. From 1934, his picture stories appeared regularly in Paris-Soir and Regards. Through Maria Eisner and the new Alliance agency, Chim met Henri Cartier-Bresson and Robert Capa.
From 1936 to 1938 Chim photographed the Spanish Civil War, and after it was over, he went to Mexico on an assignment with a group of Spanish Republican émigrés. On the outbreak of the Second World War, he moved to New York, where he adopted the name, David Seymour. Both his parents were killed by the Nazis. Seymour served in the US Army (1942-45), winning a medal for his work in intelligence.
In 1947, along with Cartier-Bresson, Capa, George Rodger, and William Vandivert, he founded Magnum Photos. He was commissioned by UNICEF the following year to photograph Europe’s children in need. He went on to photograph major stories across Europe, Hollywood stars on European locations, and the emergence of the State of Israel. After Robert Capa’s death, he became the new president of Magnum. He held this post until 10 November 1956, when, traveling near the Suez Canal to cover a prisoner exchange, he was killed by Egyptian machine-gun fire.