People of the Ocean, Berta Tilmantaite


When the baby is born we don’t need a doctor. Everything happens here, on the boat. We don’t have any medicine. We cannot go to the hospital, we’re just staying here for the birth. And mother takes care of the baby,” – says Bungsali, an old looking man, who doesn’t know his age. He spent the whole life on the boat and wants his grandchildren to continue his lifestyle.

The Bajau Laut or Sama Dilaut, also known as sea gypsies, are indigenous ethnic group, retaining a seaborne lifestyle. They live in the boats, roaming in between the Coral Triangle (marine waters of Indonesia, Malaysia, Papua New Guinea, Philippines, Solomon Islands and Timor-Leste) or settle in small stilt houses, built on the reef or islands. They are traditionally from the Sulu Archipelago in the Phillippines, coastal areas of Mindanao and northern Borneo.


Andrey Yakovlev, Lili Aleeva



William Eggleston


A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted “Color Photographs” a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston’s Guide, in which Szarkowski called Eggleston’s photographs “perfect,” accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers.


Eva Tokarchuk


I was born in the Soviet Union when it was still the USSR. I’ve never formally learned how to take photos. When I was 14 or 15 my father bought a camera for me, and I started to take photos, though not seriously at the start. Then in two years I decided that I love it! And when I was 17 I could see my future would connected to shooting. I started work when I was 18, at 19 me and my sister decided to work together, just because it was easier. But influences and inspirations became more different day by day, and now we work independently. I spent a year in Florida, and it had a really great influence, all these long sunny lazy days, my photos were kind of “floridian” for about two years, and they still look so now sometimes.



Nadia Keena


While most travelers go to places in Ethiopia by plane from Addis Ababa , the capital, we chose to do it all by car.
It felt like we were traveling through the whole African continent due to the diversity of the sites and people we experienced.
These photos reflect the timelessness of all these places. Time has stood still in most parts of the country.
Locations: Lalibela, The Danakil depression, Konso, the Omo Valley, Hawassa and Addis Ababa.

I was born in Paris but have lived most of my life in Los Angeles, CA.

Giuliano Bekor

Giuliano Bekor I


Internationally recognized photographer, Giuliano Bekor, holds a portfolio that includes work from the realms of fashion, beauty, celebrity, advertising, and fine art. Giuliano’s photography has been featured in top publications around the globe, and his client list includes an endless file of beauty industry leaders, advertising agencies, celebrities, producers, and artists. With 30 years in the industry, Giuliano has perfected his craft to an exceptional level of expertise. Composed of light, color, space and form, Giuliano brings ideas conceptualized in his own imagination into reality throughout his work. Currently living between New York and Los Angeles, Giuliano is often on the move traveling for work and inspiration. Always the restless visionary, he ceases to continually express his fresh and nuanced style



Francesco Ridolfi


Francesco Ridolfi is a portrait photographer active in both the commercial and artistic fields.

His work has been acknowledged and published in Italy and internationally.

For commercial work, Francesco is represented in Italy by Take Production, while his artistic research is promoted in the UK by the Doinel Gallery of London.

Francesco loves photography that succeeds in seizing the passing moment, but is drawn more deeply by frames that, in finalising a project of research, find the right form for a well-conceived idea.

He has recently begun using video – a natural extension of his photographic work.

Francesco’s working life is divided between Bologna, Milan and Brussels, for commercial and editorial assignments.


Anka Zhuravleva



Anka was born on December 4, 1980. She spent her childhood with books on art and her mothers’ drawing tools, covering acres of paper with her drawings. In 1997 she entered the Moscow Architectural Institute deciding to follow in her mothers’ footsteps. But at the end of 1997 her mother was diagnosed with cancer and died in less that a year. Then her father died in 1999.
After that Anka’s life changed dramatically. In attempt to keep sane, she plunged into an alternative lifestyle – working as a tattoo artist, singing in a rock-band, sometimes looking for escape in alcohol. In order to make a living while studying, Anka worked at several modeling agencies. Thanks to the drawing lessons she wasn’t afraid to pose nude, and her photos appeared in the Playboy and XXL magazines and at the Playboy 1999 photo exhibition. But she was not looking for a modeling career – it was just a way to make some money.
In 2001 Anka was working in the post-production department at the Mosfilm StudiosThat same winter one of her colleagues invited her to spend a week-end in Saint-Petersburg with his friend, composer and musician Alexander Zhuravlev. In less than a month Anka said farewell to Moscow, her friends, her Mosfilm career and moved in with Alexander in Saint-Petersburg. Living with her loved one healed her soul, and she regained the urge for painting. She made several graphic works and ventured into other areas of visual arts. In 2002 Gavriil Lubnin, the famous painter and her husband’s friend, showed her the oil painting technique, which she experimented with for the following several years. During that period she made just a few works because each one required unleashing of a serious emotional charge. All those paintings are different as if created by different people.
Anka’s first exhibition took place on a local TV channel live on the air – the studio was decorated with her works.
Several exhibitions followed.
Private collections in Russia and abroad feature her paintings and sketches.

In 2006 Anka noticed that her inspiration often came from photos and decided to take up photography.
Since that time Anka took part in numerous projects -magazine’s publications and covers, book and CD covers, exhibitions.
She engage digital photo art and analog film photography as well.
In 2013 Anka with her husband moves to live in Porto, Portugal.


Pei Ketron


Pei Ketron is a photographer, educator, speaker, and traveler based in San Francisco. Pei was born in Taiwan and raised on the Navajo Nation in Arizona as part of a biracial household. As a child, she spent summers enduring the monsoons of the tropics and the remainder of the year running barefoot in the deserts of the American southwest.

After a decade teaching special education in the public school system, Pei now teaches photography classes privately and through companies such as Skillshare, Edelman, The Compelling Image, Creative Live, and the Santa Fe Photographic Workshops. She also serves as a photographic mentor for travel experiences with companies such as Passion Passport and has spoken at events such as SXSW, Altitude Summit, and Start Conference. In addition to her experience with DSLR and medium-format film photography, Pei is also an accomplished mobile photographer, having amassed a following of nearly a million users on Instagram, and was selected to be a part of the Shot on iPhone 6 campaign.

Pei specializes in commercial, travel, and humanitarian work worldwide. Clients include: Adobe, American Express, Apple, All Nippon Airways, Bloomingdale’s, Canadian Tourism Commission, Discover Tasmania, Jordan Tourism Board, Mercedes, Michael Kors,, Pfizer, Save the Children, Square, Starwood Hotels, Tourism Whitsundays, Travel Alberta, Travel & Leisure Magazine, Turkish Airlines, and UNICEF.



Réhahn is a photographer from Normandy, France, based in Hoi An, central Vietnam, since 2011. Led by his love of travelling and meeting people, he has visited more than 35 countries prior to making his home in the ancient town of Hoi An.

He is particularly renowned for his portraits of Vietnam, Cuba and India. The media regularly cites him as the Photographer who captures the souls of his models. Indeed, Réhahn spends time with the people he meets and builds a relationship with them before taking their photographs. Specialising in the ethnic groups of Vietnam, he travels the far reaches of this country on his motorbike in order to capture the latest images of these dying cultures.

Maisie Broadhead


Maisie Broadhead is an artist and visiting lecturer at the Royal College of Art, London. She established her studio in London in 2009 and has had five solo shows to date. Maisie’s work has been part of major shows at the National Gallery and the Design Museum London, National Gallery of Victoria, Australia and she won the Jerwood Makers Open in 2012 and the Pavilion Contemporary 3 commission in 2014. 

Her work is often a dialogue between the hand made object and the photographic image


Louise Dahl-Wolf


I believe that the camera is a medium of light, that one actually paints with light. In using the spotlights with reflecting lights, I could control the quality of the forms revealed to build a composition. Photography, to my mind, is not a fine art. It is splendid for recording a period of time, but it has definite limitations, and the photographer certainly hasn’t the freedom of the painter. One can work with taste and emotion and create an exciting arrangement of significant form, a meaningful photograph, but a painter has the advantage of putting something in the picture that isn’t there or taking something out that is there. I think this makes painting a more creative medium.

Louise Dahl-Wolf


Chiko Ohayon



Edward Sheriff Curtis


The North American Indian

The Man and the Land, Lalo de Almeida


Lalo studied photography at the Instituto Europeo di Design in Milan, Italy . He began working as a photojournalist for small agencies in Milan, covering Police work in the  city. Later, he worked for the Grazia Neri agency, covering domestic and international events such the war in the former Yugoslavia

Back in Brazil, he woked for the newspaper O Estado de S. Paulo, the weekly new magazine Veja and has worked for 16 years as a photographer for the newspaper Folha de São Paulo.

In addition to his work for the newspaper, he has also been working on documentary projects such “O Homem e a Terra” (“The Man and the Land”)  concerning traditional populations in Brazil, which was awarded the first prize in the International Biennial of Photography in Curitiba in 1996. He was nominated for the German Internationaler Preis fur Jungen Bildjournalismus in 2003 and won the  Fundação Conrado Wessel Award in 2007

He is the photographer of the book “Nas Asas do Correio Aéreo” (“Flying with the airmail service”) published in 2002.

In 2013, Lalo won the XII Marc Ferrez Award from the National Arts Foundation (FUNARTE) to prepare a project concerning the social impacts caused by the construction of the hydro-electric power plant of Belo Monte in the Xingu river.

Currently, in addition to contributing on a regular basis to the Folha de S. Paulo in the fields of photography and video, Lalo has been reporting, as of 2005, for The New York Times, in Brazil and in South America.

Lalo is based in São Paulo, Brazil, and is available for assignments.

Bruno Dayan




Peter Coulson




François Kollar


François Kollar is a magnificent photographer. He produced strong images that possess few histrionics, even less ego. They simply just are.

People quoted in this posting comment that in his photographs “human measure is omnipresent”; that you never loose the sense of scale; that there are “frequent contrasts between near and far, the intimate and the monumental”; that his photographs are “an anthropological investigation into the behaviour, gestures and postures of people at work”; that “Men and women and their functions and roles in the production process are recurrent elements.”

All these statements are true.

Further, his images are sensitive, beautiful, show no traces of any social movements, and little sign of emotion. As Dominique Vautrin observes, “François Kollar is a photographer who resembles his images: somewhat mysterious, beautiful, and discreet…” And as the text from Jeu de Paume states, “He revealed himself to be a temperate photographer, somewhere between the barebones modernism of Bauhaus and a humanist approach to photography.” Other photographers who could fit into this playlist could be Bill Brandt in England, Walker Evans in America and Wolfgang Sievers in Australia.

But what a splendid description – a “temperate photographer”. Showing moderation and self-restraint… there is far too little of that in contemporary photography. A humanist with an avant-garde edge, a photographer whose vision was clear and consistent throughout his oeuvre, who could turn his hand to anything: advertising, fashion, avant-garde, double exposures, solarisation, photomontage, documentary reportage, surrealism, constructivism, modernism.

Joseph Nechvatal comments that Kollar’s work is poignant. This is an incorrect word to describe the work, for the photographs never evoke a keen sense of sadness or regret. They are of a different order altogether. Let me explain.

There is a wonderful stoicism about the people who Kollar chooses to photograph, who inhabit his world of work. The endurance of work without the display of feelings and without complaint. Labour is not represented in any glorified way, not as a noble undertaking, and certainly not heroic (although the worker can be represented as intimate and monumental). The workers are represented as an adjunct to the machine but not in a cyborg fashion. In his photographs there is a distinctness about the worker which sets the human apart from the machine, even as he is “deeply embedded within their functions and roles in the production process.” I don’t believe that people understand this separation, preferring instead to comment on the embedding of the human within machine processes. But something was bothering me when I looked at these images and I have pondered long and hard over how to interpret them. There was something I could not put my finger on and it is this…

In the work of Lewis Hine, the workers are in the present looking to the future. In the work of François Kollar there is no justification for the work it is just work… being there in the present. No ego, no elevation of experience or emotion, and the photographs are just so. Just being in the world. The thing itself. Nothing more, nothing less. It seems simple when you say it like that, but the concept is very complex – to allow the photograph to materialise from consciousness, as a sort of previsualisation of experience – of being a poor, working class immigrant (which Kollar was) picturing his own.

That he achieved such photographs “with his 5 x 7 large-format camera and cumbersome lighting equipment” is a testament to the dedication to his craft, to his work, and to his roots – a connection to the working man and woman. These are honest and forthright photographs of what most humans do for most of their life: work at a job they may not like – to pay the bills, to put food on the table. The lighting is superb, the compositions eloquent, the characters in his images unforgettable (Kollar particularly likes portraits of men shot from below with their arms folded) but it is the balance between the subjective and objective which is so finely honed in his work. The dispationate nature of humans when at work is balanced by the aesthetics of the artist and the humanity of the individual.

Dr Marcus Bunyan for Art Blart

Omo: Expressions of a People, Drew Doggett

 I am captivated by stories, driven by the chase for extraordinary beauty and passionate about capturing each moment with integrity and inspiration. Searching for rarely seen subjects, I’ve traveled to remote corners of the world to chronicle people and places that are truly remarkable. Depicted in their natural environments, they are indigenous cultures and communities through a modern lens; scaled and crafted for the most compelling visual impact.
Ethiopia’s sun-baked Omo Valley, an area recognized by scientists as the cradle of humankind, is home to a rich variety of semi-nomadic ethnic groups. Diverse in many respects but linked by their shared migration paths, these groups lead a way of life that is both colorful and austere. Herdsmen and their families keep cattle as they have for centuries, consuming just enough food to sustain themselves and sometimes enduring months of drought.

Obscurité, Jack Montgomery


When I was six months old, my parents took my maternal grandmother and me to a small cottage—a shack really—that sat on the shore of a great salt pond on Martha’s Vineyard. The full range of sensory experiences from that time and other visits there were deeply imprinted on my young brain, and they define my greatest pleasures. The smell of the salt air, infused with the sharp iodine of seaweed and the decay of sand and mud exposed at low tide. The simple building, aging shingles, peeling paint, old wood aged to dark chestnut. Roads of sand as fine as powdered sugar, cutting though pine forests with dappled light reaching the ground. All of these things excite me still, 60 years later.