Manuel Rivera-Ortiz photographs the poor and disenfranchised around the world. His photographic stories of hardship and hope in some of the world’s poorest nations serve as a testament to the life he himself experienced growing up in backwater barrios of Guayama, Puerto Rico. Current events, popular culture and mass media tend not to play a role in Rivera-Ortiz’ images. Instead, his work has more to do with the universality of poverty, the presence of hope in adversity and the dignity of people living in distress. The landless, the forgotten, all play an integral role in the greater message of Rivera-Ortiz’ images: that no matter what, all life is sacred and every human on earth deserves the opportunity of a healthy, happy existence. Manuel Rivera-Ortiz has traveled many corners of the world from India to Kenya, Bolivia to Cuba, Thailand to Turkey and beyond. His major projects include the Mumbai slums Dharavi and Baiganwadi in India, the indigenous Aymara in the Andes and Altiplano regions in Bolivia and his breakout collection on tobacco workers of the Viñales Valley in Cuba.
Ed Kashi is a renowned photojournalist, filmmaker, speaker and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship to his subjects are signatures of his intense and unsparing work. As a member of VII Photo Agency, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. Kashi’s innovative approach to photography and filmmaking has produced a number of influential short films and earned recognition by the POYi Awards as 2015’s Multimedia Photographer of the Year. Kashi’s embrace of technology has led to creative social media projects for clients including National Geographic, The New Yorker, and MSNBC. From implementing a unique approach to photography and filmmaking in his 2006 Iraqi Kurdistan Flipbook, to paradigm shifting coverage of Hurricane Sandy for TIME in 2012, Kashi continues to create compelling imagery and engage with the world in new ways. Along with numerous awards from World Press Photo, POYi, CommArts and American Photography, Kashi’s images have been published and exhibited worldwide. His editorial assignments and personal projects have generated nine books. In 2002, Kashi in partnership with his wife, writer + filmmaker Julie Winokur, founded Talking Eyes Media. The non-profit company has produced numerous award-winning short films, exhibits, books, and multimedia pieces that explore significant social issues. In 2019, The Enigma Room, an immersive installation, premiered at NYC’s Photoville festival, and has since been seen in Israel, the Netherlands, South Korea, and New Mexico, USA. The Enigma Room is an experimental multimedia projection created in collaboration with Brenda Bingham, Michael Curry, and Rachel Bolańos.
Fernando Moleres es un fotógrafo vasco, nacido en 1963 en Bilbao, que vive en Barcelona y realiza fotografía documental socialmente comprometida. Enfermero de formación, en 1991 publico sus primeras fotografías en un medio de comunicación. Viajó en 1987 por trabajo a Nicaragua, durante el período sandinista, y allí comenzó a apreciar el valor de la fotografía y aprendió por sí mismo cómo hacerla. Hasta 1994 combino sus reportajes gráficos con la enfermería para dedicarse posteriormente de lleno a la fotografía documental. Cambio su residencia de Orduña por la de Barcelona y desde entonces sus viajes y premios profesionales se han sucedido. Desde hace más de 20 años ha fotografiado temas de actualidad relacionados con los derechos humanos. Algunas de estas historias, como la explotación del trabajo infantil o de menores de edad en la cárcel, muestran la incuestionable evidencia de situaciones que deben ser eliminadas o, al menos, perseguidas. La fotografía documental es, para él, una actitud que le afirma en la vida, una herramienta que le permite abordar las situaciones que le cautivan, le preocupan y que le dan ganas de participar. Por otra parte, como fotógrafo, trabaja y profundiza en temas que trascienden el tiempo presente, y que le intrigan por su experiencia y que le permiten exponerse a otros tipos de vida. Ser un fotógrafo freelance le permite trabajar en proyectos personales durante un largo período de tiempo.
Claudia Andujar came to Brazil, passed through São Paulo, then Brasília, then Boa Vista, and then to the Yanomami lands. She arrived at the Catrimani mission. She was thinking about her project, what she was going to do, what she was going to plant. The way one would plant a banana tree, the way one would plant a cashew tree. She wore the clothes of the Yanomami, to make friends. She is not Yanomami, but she is a true friend. She took photographs of childbirth, of women, of children. Then she taught me to fight, to defend our people, land, language, customs, festivals, dances, chants, and shamanism. She explained things to me like my own mother would. I did not know how to fight against politicians, against the non indigenous people. It was good that she gave me the bow and arrow as a weapon, not for killing whites but for speaking in defense of the Yanomami people. It is very important for all of you to see the work she did. There are many photos of Yanomami who have already died but these photos are important for you to get to know and respect my people. Those who do not know the Yanomami will know them through these images. My people are in them. You have never visited them, but they are present here. It is important to me and to you, your sons and daughters, young adults, children to learn to see and respect my Yanomami people of Brazil who have lived in this land for many years
My first steps in photography began as a teenager, when digital photography was emerging. At that time, for me, the pleasure of taking pictures was driven by the possibility of discovering immediately the result on my screen, as well as the fact of exploring infinite creative ways of composing images. After studies in documentation, I decided to deep my knowledge in picture working, by doing an internship at Magnum Photo Agency Archive Service. This experience motivated me to be a professional photographer, starting afterwards a school-working contract in a press agency. I covered my first topics and defined my interest in political photo. In 2011, I joined IP3 team and since then I have covered economical, political and society issues. An important part of my work is also based on illustrative photography. I’m convinced that daily life offers me a real variety of possible pictures and it is the reason why I always feel like shooting. For me, photography is not only my profession, but also a way to enjoy life and have fun everyday
Annie is a freelance photographer, journalist and educator. Their work primarily focuses on gender, sexuality, identity and trauma in the United States. Annie received a Master of Science from S.I. Newhouse School of Public Communication at Syracuse University.
Thurston Hopkins was born in 1913 in Sleaford in Sussex and died in October 2014. As a younger man he was Godfrey Thurston Hopkins but dropped the Godfrey while at school.
He studied at Brighton College of Art and when he left, he found work as a graphic artist and later, after being made redundant he joined a news picture agency, PhotoPress.
He didn’t work for long in the cut throat business of news journalism and left to set up his own photography business in Brighton.
When the second world war came along, he joined and served with the RAF photography unit.
After the war Thurston Hopkins travelled around Europe, hitch hiking and taking photos with his newly acquired Leica camera, a souvenir of the war.
Retuning to the UK he got a job with Camera Press a picture agency started in 1947 by Tom Blau and still a force in the picture agency business today.
Thurston Hopkins started work for Picture Post in 1950 and left in 1957. One of the first series of photos he undertook was ‘’Cats of London’’, an observation of the many homeless cats that populated London after the blitz.
A set of pictures taken in Liverpool in 1956 is considered by many to be his finest work. He photographed those living in the slums but the content showing the poverty, deprivation and misery was so disturbing that the publication of the pictures was prevented by Edward Hulton, the owner of Picture Post and the pictures were never published.
It was while he worked at Picture Post that he met and married Grace Robertson, in the 1950’s she was a rare thing, a female professional photographer. So rare that Grace determined to get work adopted a male pseudonym, Dick Muir, in the early part of her career to enable her to pursue the work she wanted.
When the Picture Post came to an end Hopkins set up a studio in Chiswick and became one of London’s most successful commercial photographers, He later returned to Brighton and taught photography at the Guildford College of Art.
Arif Aşçı was born in Adana in 1958. He graduated from the Department of Art in the Istanbul Fine Art Academy in 1982. Between 1984 and 1986 he worked as an instructor at the engraving studio of the Istanbul Fine Art Academy. In 1986 he resigned from Academy and started travelling to Asian countries and taking photography. In 1989 Aşçı prepared the 12 episode TV documentary film, entitled “Turquoise” which was based on his three years journey in Asian countries. In 1996 he prepared and directed an exhibition on Silk Road, which showed his trip across the ancient Silk Road from China to Turkey with his team (4 people) by camel caravan for 18 months. In 1998 the book of Silk Road journey, “The Last Caravan on the Silk Road”, was published by the Kaleseramic Cultural Publications. The documentary of his journey was shown on TV in over 20 countries. In 1999, he presented “Silk Road” photographs during the Photo Journalism Festival in Perpignan, France. In 2000, his book, “Bahtabakan (Chameleon)”, which shows a portfolio in black and white was published by the Kaleseramic Cultural Publications. In 2003, Aşçı presented “Silk Road” photographs during Turkish Octoberfest in Munich, Germany. He presented a documentation in the 22nd International Architects Congress in 2005. The Album “Many Colors, One City” was published by the Kaleseramic Cultural Publications. Aşçi was a representative of Amsterdam Photo Agency during 1997 and 2007. Cover stories and photo stories were published worldwide in such magazines: Geo, Grands Reportages, Holland Herald, Res, Terra, VSD and Expressen. During 2003 and 2007, Aşçı took photographs of Istanbul with a 6×17 panoramic camera. Some of his photographs of this long term project were exhibited in the Museum of Istanbul Modern, Brussels and Seoul.
Villa 15, el corazón de Buenos Aires
Todos tenemos un motivo para sentir la ciudad como nuestra, vení a descubrir cuál es el tuyo”, se escucha en el video publicitario de Argentina. Y un bombardeo de imágenes del Obelisco en la 9 de Julio, bailarines de tango y los mejores lugares de la capital hipnotizan a los turistas.
Villa 15 fue censurada visualmente por los porteños con la construcción de dos muros para evitar que esos turistas vean pobreza durante el Mundial de fútbol de 1978. Entonces se la bautizó como Ciudad Oculta.
El eslogan se me viene a la mente al llegar a la ciudadela. Aquí no existen obeliscos ni bailarines de tango, sólo un monumento al abandono que se llama Elefante Blanco, edificación del gobierno de Juan Domingo Perón que tenía que ser el hospital más grande de Latinoamérica. Nunca se concluyó y con el tiempo fue tomada por cartoneros y gente sin techo.
La sola idea de pisar Ciudad Oculta tiene malos augurios: muchos delincuentes viven también en esa villa.
Las imágenes de esta serie grafican mi visita. Como una turista conocí sus tradiciones y conviví con sus habitantes: las personas que encontré y que me acogieron nunca me pidieron nada a cambio. Me mostraron su mundo y me cuidaron de los peligros de la villa. Ahora puedo afirmar que descubrí cuál es mi motivo para sentir la ciudad de Buenos Aires como mía.
Pepi Merisio was primarily inspired by the 1950s growing up. New York City became the focus for modernism on an international scale during the Post-War period. Many artists had travelled to the city during the Second World War, fleeing in exile from Europe. This led to a substantial pooling of talent and ideas. Influential Europeans such as Piet Mondrian, Josef Albers and Hans Hoffmann provided inspiration for American artists whilst in New York, and influenced cultural growth in the United States for many later decades. Jackson Pollock, Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb were influential artists of this time. The male dominated environment has been subsequently revisited to recognise the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others
The focus of this body of work is on the Middle East, on women and children especially. Lebanon in particular is interesting to me because of its key location between the West and the Arab world, witnessing a blend of Western and Arab cultures, of Christianity and Islam, of tradition and modernity all coexisting side by side.
The images shown here are a selection from four interrelated bodies of work: The Aftermath of War a photographic essay of life in Lebanon after the numerous wars the country has gone through, The Veil: Modesty, Fashion, Devotion or Statement studying the recent spread of the veil and its meanings among Muslim women in Lebanon, The Forgotten People representing life in the Palestinian refugee camps and The Arab Christians an often underrepresented and forgotten minority in the Arab World, but a minority with strong traditions and roots. These images do not have the intention of representing Lebanon as a country, a country with more facets than I can begin to describe, or to be political in any way, but to primarily focus on ordinary people going on with their daily lives in this complicated part of the world.
Throughout my work in Lebanon, be it after the war, in the refugee camps, in the suburbs of Beirut or in Southern Lebanon, I was welcome in people’s homes and I was humbled by people’s resilience, kindness and hospitality. As such, in these photos I focus mainly on the people who did not lose their humanity and their dignity despite what they have been and were still going through. I avoided the obvious images of grief and calamity, preferring to set my focus on the indomitable ability of the human spirit to continue with the minutiae of life – from the joyful to the mundane – even amid the most difficult of circumstance.
The faces of the Native American people I photograph reveal a profound sense of the sacred. The people in these photographs are descendants of those I first encountered in images by the great photographer Edward Curtis that I admired in a photo history class I attended long ago. I remember being deeply moved by what I saw projected on the screen that day. Curtis’s photographs reveal something awesome (in its truest sense)—something that is majestic and universally human and beyond words. I believe there is a flow of energy in the great photographer’s images that brings them into the present and in turn makes them timeless. It is that sense of awe, dignity and connection to the past that I want to bring to light in the photographs I make.
Lang Jingshan also romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists.
He has been called “indisputably the most prominent figure in the history of Chinese art photography”,and the “Father of Asian Photography”.
He joined the Royal Photographic Society in 1937 and gained his Associateship in 1940 and Fellowship in 1942.and in 1980, the Photographic Society of America named him one of the world’s top ten master photographers.
He was the first Chinese photographer to take artistic nude shots, and was also known for the unique “composite photography” technique he created.
Claire Martin began her career by studying a degree in Social Work, however, she changed her focus to Photography when she realised that change can also be effected through this medium. Since beginning her career pursuing personal projects in 2007, she has focused her lens on marginalised communities within prosperous nations creating works that blend the genres of documentary, art and photography.
The real impact behind Claire’s photographs comes from her critical analysis of sociocultural and ecological relationships and her drive to simplify and communicate these ideas to a greater public through complex yet bold single images. The engaged critical thinking behind her images is evidenced through her accompanying writing and her regular engagement with teaching, public speaking and jurying. Beyond the still image Claire is preoccupied with the power of story telling in any medium. She lectures in photo media at Edith Cowan University and is routinely invited to speak about photography and journalism at galleries and industry festivals
PhotographerRussell Lee(1903–86) is best recognized for his work with the Farm Security Administration (FSA). His photographic career extended from 1935 until his retirement in 1973. He worked for the largest federal documentary project in the history of the United States, and it was during this time that he documented several hundred images of the forced removal and confinement of Japanese Americans in the spring and summer of 1942
La Tacita De Oro is a photographic portrait of the city of Colón, located on the Caribbean coast of Panama. Wedged between the Free Trade Zone, the Panama Canal, and a cruise ship terminal, Colón is a grid of dense and cacophonous streets in an evident state of decay. Both the city’s residents and government have contributed to its deterioration, and only traces of its eclectic architecture remain. But impressed in Colón’s crumbling façades is the memory of what it once was — La Tacita De Oro, “The Little Cup of Gold” — a city that at its apex boasted stately avenues full of impressive buildings, French bakeries, theaters and hotels. Its side streets were the envy of all of Panama during the month of Carnival, when each block had its own themed celebration, filled with musicians and dancers.
Raymond Voinquel (11 January 1912, Fraize – 15 July 1994, Paris), French photographer. Specializing in portraits and male nudes, he is probably best remembered as the still photographer on upwards of one hundred and sixty films. During a span of more than forty years, beginning in the Thirties, he worked with the likes of Marcel Carné, Jean Cocteau, Yves Allégret, Max Ophüls, Jean-Pierre Melville, Luis Buñuel, Jean Renoir, Marcel L’Herbier, and Alfred Hitchcock.
Carol lives in Portland, Oregon with her cat Oona and her imaginary dog, Sparky. She is most comfortable traveling to other parts of the world to photograph, as she adores learning about different cultures. The learning experience and exposure to others is paramount to Carol. Carol’s passion is people… their difficulties… their grace… She hopes that you enjoy her work, and welcomes your feedback.
Ekaterina Belinskaya was born in Moscow, Russia. Drawn to the Sciences as a young girl, she eventually received a diploma In Engineering/Ecology. It was during the time of her studies, however, that she unexpectedly discovered her creative side. Ekaterina specializes in portraits & fashion and has worked alongside prominent Designers, Stylists, Make-up artists and Modeling agencies. Each of Ekaterina’s photographs is a fairy tale: dark, beautiful and mysterious.
Her works have been included in the list of “Best Photos of Russia” four years running and she was awarded Russia’s “Best Photographer” award in 2012.
Ekaterina photographs have been featured in Paper Magazine, L’Official, Elle, Rogue, L’Beaute, Basic, Forbes, and most recently a cover story for Virtuogenix. Her photographs also helped launch Super Stylist’s B. Akerlund’s line of accessories for IKEA called OMEDELBAR. Commercially her photographs have been featured for Eyeglass Designer “Anna-Karin Karlsson’, LUMIX Camera, Cover Art for Recording Artist “Sofi Tukker” and more. Her recent shoots for Rogue include a story featuring “Booksmart” star Kaitlyn Dever, “American Horror Story” actress Taissa Farmiga, “Black Mirror” actress Andrea Riseborough and “Busy Tonight”’s Busy Philips.
Ekaterina’s first personal Exhibition in Los Angeles (“The Edge of Fashion”) opened at the Duncan Miller Gallery in Santa Monica on March 22, 2018 and ran through to April 28th. She currently resides in Los Angeles, CA.