Debbie Caffery

Caffery has been making photographs of the people and culture of her native Louisiana for over 30 years. Past projects include documentation of sugarcane field and mill workers, alligator hunting, and family portraits in Louisiana, as well as photographs of rural Mexico and Portugal. She will soon publish a new book documenting prostitution in Mexico. Caffery’s work has been included in solo exhibitions at the Smithsonian Institution’s National Museum of American History, Cleveland Museum of Art, Museum of Photographic Arts in San Diego, Chicago’s Museum of Contemporary Photography, and the Gitterman Gallery, New York.

She has received numerous awards including a Guggenheim Fellowship (2005), the first Lou Stoumen Prize (1996), and the Louisiana Governor’s Art Award (1990). Her work is included in the permanent collections of many museums, including the Smithsonian Institution, Whitney Museum of American Art, the Museum of Modern Art, the Metropolitan Museum of Art, and the New Orleans Museum of Art. Caffery has published several highly praised books, including Polly, The Shadows, and Carry Me Home.

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Nicolás Muller

 

Frank Eugene

Frank Eugene Smith, who was later known by his artist name Frank Eugene and who adopted German citizenship in 1906, was born in New York in 1865. After a first training at the City College, Eugene began to study painting in New York in 1884 and switched to the Akademie der Bildenden Künste in Munich in 1886. During his years of study Eugene began to be interested in the new media of photography and studied further autodidactically. As soon as 1889 Eugene had his first one-man show at the Camera-Club’ in New York, which was founded by Alfred Stieglitz. After his graduation Eugene returned to New York in 1894 and worked for some years as a stage designer and portrait painter, specialising in portraying well-known theatre-actors. Since 1900 he lived in Germany again and got envolved with artistic photography, was admitted to the Linked ring’ in London and founded – together with Stieglitz and Edward Steichen – the American photographer’s society Photo-Session’. Between 1904 and 1910 Eugene’s works were published as heliographs in the advanced photography journal Camera Work’ and became internationally known. Eugene orientated himself in his photographs at painting, following the romanticising style of art photography: Eugene’s treatment of the negatives with opaque colours and etching needle led to his wanted pictorial and graphic effects and with his favoured techniques like platinum print and the rubber-bichrome.technique, he achieved the modern blur of his positives. Since 1907 Eugene began his educational work at the Lehr-und Versuchsanstalt für Fotographie in Munich, which he continued at his chair for artistic photography at the Königliche Akademie für Grafische Künste in Leipzig in 1913. In 1907 Eugene organised a meeting between Stieglitz, Steichen and Heinrich Kühn and brought forward the assimilation of German art photographers to American guidelines. Frank Eugene died in Munich in 1936.

Fernando Lemos

 

Fernando Lemos is a painter, graphic artist and photographer from Portugal.

Early in his career, in 1960 , Fernando Lemos, photographer from Portugal, is participating in intellectual resistance movement against the dictatorship of Salazar. His Production is experimental, close to the experimental nature inspired by work of Man Ray.

He came in Brazil and lived in the Pension Maua , in Rio de Janeiro, where he photographs writers and artists. In 1953 , some of his photos are display at the Museu de Arte Moderna de São Paulo – MAM / SP [ Museum of Modern Art of São Paulo ] and the Museu de Arte Moderna do Rio de Janeiro – MAM / RJ [ Museum of Modern Art in Rio de Janeiro ] . His works resemble those of modern Brazilian photographers of the late 1940s, related to Foto Cine Clube Bandeirante [Photo Film Club Bandeirante] .

Fernando Lemos still working with construction techniques and organization of space , as in Luz Teimosa [ Stubborn Light ] , 1951/1952 , where the light is revealed in lines that intersect , in a subtle way , an atmosphere confined . The brief period during which he devoted himself more intensely to photography ends shortly after his arrival in Brazil. He began to work with drawing and painting and produces non- figurative works . He first uses shapes cut out the background , often close to graphic signs in compositions mainly structured by line , as in Símbolos [ Symbols ] , 1967. In other works , he uses geometry as an expressive form , and also creates organic forms evoking symbols. It also explores the luminosity of watercolor.

Fernando Lemos also works with visual communication and graphic planning, and as an illustrator for several publications. With Décio Pignatari (1927) , he led the design studio Maitiry in São Paulo. His design work is still not well known

Max Dupain

Max Dupain was Australia’s most respected and influential black & white photographer of the 20th century. His images capture a long gone era in which Australian society was vastly different from what it is now. With his documentary eye his images exude quality and demonstrate Dupain’s mastership of light and form.

Dupain was considered the pioneer of modernism in Australian photography, an approach that departed from the sentimentality of soft focused, nostalgic imagery to the simplified world of light contrasts, sharp focus, varying angles and creative compositions.

Ferdinando Scianna

 

 

 



Ferdinando Scianna started taking photographs in the 1960s while studying literature, philosophy and art history at the University of Palermo. It was then that he began to photograph the Sicilian people systematically. Feste Religiose in Sicilia (1965) included an essay by the Sicilian writer Leonardo Sciascia, and it was the first of many collaborations with famous writers.

Scianna moved to Milan in 1966. The following year he started working for the weekly magazine L’Europeo, first as a photographer, then from 1973 as a journalist. He also wrote on politics for Le Monde Diplomatique and on literature and photography for La Quinzaine Littéraire.

In 1977 he published Les Siciliens in France and La Villa Dei Mostri in Italy. During this period Scianna met Henri Cartier-Bresson, and in 1982 he joined Magnum Photos. He entered the field of fashion photography in the late 1980s. At the end of the decade he published a retrospective, Le Forme del Caos (1989).

Scianna returned to exploring the meaning of religious rituals with Viaggio a Lourdes (1995), then two years later he published a collection of images of sleepers – Dormire Forse Sognare (To Sleep, Perchance to Dream). His portraits of the Argentinean writer Jorge Luis Borges were published in 1999, and in the same year the exhibition Niños del Mundo displayed Scianna’s images of children from around the world.

In 2002 Scianna completed Quelli di Bagheria, a book on his home town in Sicily, in which he tries to reconstruct the atmosphere of his youth through writings and photographs of Bagheria and the people who live there.

Josef Breitenbach

 

 

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Josef Breitenbach was born on the 3rd of April 1896 into a middle-class wine-merchant family of Jewish descent. He attended technical high school from 1912–15 and trained as a salesman for an instrument firm and later as a book keeper for an insurance firm. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. In 1918, he took part in the Soviet-inspired Bavarian coup d’état, which was the first spark of the revolutionary fire that swept over Germany in the wake of the armistice. For a few months, Breitenbach also occupied an official position in the new government. Although the revolution was short-lived, the ties he forged with the radical circles of Munich’s intelligentsia later helped him establish his reputation as a photographer.

In 1932, after several unsuccessful years at the head of the family business—during which period he was mainly engaged with perfecting his use of a camera—Breitenbach opened his first photographic studio. His clients were prominent members of Munich’s bohemia, including actors and actresses performing in the Munich theater. Munich was a stronghold of libertarians and refined people, whose spirit Breitenbach captured in theatrical portraits of his friend, the journalist Theo Riegler. This world vanished in 1933 with Hitler’s takeover.

More than his Jewish roots, the photographer’s political past made him a target for persecution. In August, 1933, a band of Sturmabteilung (SA) storm troopers, members of Hitler’s private army, banged on the door of his studio. Using a portrait of German nobleman Franz von Papen he’d taken the year before when he was Chancellor of Germany, and a letter of thanks he’d received, Breitenbach convinced the troopers that he was under Papen’s protection. With his passport about to expire, Breitenbach made his way to France a few days later, joining other German exiles seeking refuge in Paris.

 The Surrealist “revolution” had by then become dominant in the Parisian art scene. Soon after his arrival, Breitenbach came into contact with André Breton and his circle. Preferring to retain his independence, he never became a member of the Surrealist group, but did show work in important exhibitions of Surrealist photography alongside Man Ray, Jacques-André Boiffard, Brassaï, Eli Lotar, Henri Cartier-Bresson, and Roger Parry.

Breitenbach only lived in Paris for six years, until the war broke out in 1939. Yet during this period, he produced some of his most inventive work. He adopted several techniques favored by new photographers such as superimpression, montage, solarization, printing in negative, and the photogram. More importantly, he was one of the rare artists of the pre-War years to produce color photographs, which he did by using processes of bleaching, toning and pigmentation. Examples are the images “Montparnasse”, “Portrait of a Woman in Black and Red”, and Forever and Ever.

During his years in Paris, he was also an active member of the German exile community, which alerted the democratic world to the threat of fascism. He participated in the 1938 exhibition by the Union des Artistes Allemandes Libres, “Five Years of Hitler Dictatorship”. A high point for Breitenbach was his collaboration with Bertolt Brecht, summarized by portraits of the playwright. The war interrupted this second chapter of the photographer’s life. Interned by the French as a suspicious alien, then drafted into a civilian corps composed of foreigners, Breitenbach eventually escaped to New York from Marseille in 1941.

Breitenbach seemingly had no trouble adjusting to America. New York, the city in which he would spend the rest of his life, became home to him, as evidenced by his photomontage of 1942, “We New Yorkers”. He responded to the electric beat of the city, composing photographs such as “Radio City” (1942) that have a jazz-like quality.

 The 1950s and 1960s were years of intense activity for Breitenbach. He did photographic reportage in Asia for the United Nations and other varied businesses, documenting relief work. He exhibited his photographs extensively in the United States from the 1940s to the mid-1960s, including at the Museum of Modern Art and the Metropolitan Museum of Art. The time not spent on the road was spent absorbed by his teaching at Cooper Union and The New School.

Since his death in New York on the 7th of October 1984, there have been 26 one person exhibitions of his work, shown in New York, Paris, Berlin, Munich, and multiple other locations in both Europe in the United States. Eight books have been published on his work, including two by Larissa Dryansky (Josef Breitenbach and Josef Breitenbach Manifesto) and Josef Breitenbach Photographien, published by Schirmer/Mosel. The Josef Breitenbach archive is located at the Center for Creative Photography at the University of Arizona, Tucso

Colin Templeton

I am a Glasgow-based, award-winning photographer with 22 years’ experience in news, features, PR, and sport. My work has appeared across the board, including The Guardian, The Times, The Sunday Times, The Independent, The Sun, Daily Express, The Mirror, Sunday Mirror, Daily Mail, Mail on Sunday, Daily Record, Sunday Mail, The Scotsman, Scotland on Sunday, HELLO! magazine, Black + White Photography magazine and Leica Fotografie International magazine. Formerly a staff photographer with national titles The Herald/Sunday Herald/The National/Evening Times, I’m now freelancing in central Scotland, and beyond.

My in-depth experience of how PR and newspapers work means that I know what will work in a picture and, just as importantly, what won’t.

I studied photography at Glasgow College of Building and Printing and got my break shooting football matches for the Scottish Sun.

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Kansuke Yamamoto

 

The son of an amateur pictorialist photographer, Yamamoto Kansuke first studied French poetry and literature in Tokyo while he experimented with creative collages and photography influenced by European Surrealism and in particular Marcel Duchamp, René Magritte and Man Ray. At the end of the 1930s, he became a member of the avant-garde artistic movement, VOU and helped establish the Nagoya Foto Avant-Garde which encouraged innovative photography. Yamamoto Kansuke pioneered a poetic and elaborate signature style that merged European-inspired Surrealist iconography with distinctly Japanese motifs and concerns. The Japanese photographer appreciated Surrealism’s anti-establishment and anti-war positions as well as its bizarre takes on the human subconscious: ‘Artwork comes out of some disobedient spirit against readymade things of society. … Pure spirit should be a proactive spirit that attracts a new generation … Rebellion against each generation and the reformation of a generation is our purpose.’ These characteristics threatened Japanese Surrealists with imprisonment while Western members of the movement strongly denied to bestow them with legitimacy. Yamamoto Kansuke nonetheless continued to create dark and complex works that reflected on freedom – often symbolized by the birdcage motif – and war as he addressed World War II with his Premonition of Genocide

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Caspar Claasen

I’m a photographer based in Amsterdam, Netherlands. I am fascinated by extraordinary interactions between people, often individuals, and their everyday surroundings.

How an apparently everyday moment can become a short story when photographed.

How a non–scripted moment can appear so surreal, meaningful, esthetic or humorous that it looks scripted. But it isn’t.

I am thrilled when I succeed in doing this.

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Iwata Nakayama

Iwata Nakayama was a renowned Japanese photographer born in 1895 in Yanagawa, in Fukuoka.

His father was an inventor who held a patent of a fire extinguisher. Iwata moved to Tokyo and was educated in a private school Kyohoku-Chūgakkō. After graduating from that school, he entered Tokyo University of the Arts as a first student of its photography course. After learning artistic and commercial techniques there, he moved to the U.S. in 1918 as an overseas student of California State University, sent by Japan government. However he quit studying and began to work at a photo studio run by Tōyō Kikuchi in New York. With his practical skills, he established his own studio, Laquan Studio, in New York.

Nakayama succeeded as an artisan, and traveled around Europe with his wife Masako and his son Iwao . He stayed in Paris and he came to know Man Ray and László Moholy-Nagy and their works (but he wrote that he didn’t follow their style). And he and his family went back to Japan in 1927.

He began to work as a professional photographer in Kobe and drove Japanese Avant-garde Photo Arts. He associated Ashiya Camera Kurabu and educated some his juniors. And released some works in the magazines Asahi Camera, Nihon Shashin Nenkan and so on. Furthermore, he made one of the first commercial montage photography in 1930.

In 1932, he, Yasuzō Nojima and Nobuo Ina published their monthly magazine Kōga. This magazine was a critical turning point of Japanese artistic photography. Nakayama was a pioneer of Japanese avant-garde photography and inspired many Japanese photographers through his those works.

During World War II, he couldn’t work to the full. His works became more and more abstract. The War over, he resumed his professional work and creating new artistic pieces, but in 1949, he suddenly died (at 54). It was just a few days after he was selected as a trustee of the Japanese Photography Association.

Imogen Cunningham

Imogen Cunningham occupies a singular position in the history of American art of the twentieth century. For over half the history of photography, she explored- with innovation and a new perspective- all the major traditions associated with the medium as fine art.

Cunningham has been most widely acclaimed for the photographs made during the 1920s and 1930s, particularly close-up images of plants and nudes. She also made portraits which are now considered classics in photography, including images of Alfred Stieglitz, Spencer Tracy, and Martha Graham.

She was a founding member of the West Coast-based Group f.64, which championed an un-manipulated, direct approach with the camera, or “straight” photography. Her photographs are represented in major collections and museums around the world.

Here are some links for more information

Émile Savitry

The Académie de la Grande Chaumière, cafés like Le Dôme, La Rotonde, and La Coupole, artists’ studios where nude models used to pose, Boulevard Edgar Quinet and jazz clubs: this was the heart of Montparnasse where Émile Savory began his painting career, started as photographer, and frequented his sculptors, painters, poets and musicians friends. It was there that this talented jack-of-all-trades who “had many strings to his bow ” lived his entire life.

His work revived “the hot hours of Montparnasse”, this artistic, friendly hotspot rooted in the smoky atmosphere of the cafés of the Vavin crossroads. There, one could see Alberto Giacometti, Victor Brauner and Antoine Prinner who Savitry photographed in the intimacy of their studios; Samuel Granowski, captured at the bar of La Rotonde; Pablo Neruda, returning from Spain after the French victory, here he was photographed at La Coupole with Paul Grimault and some Latin-American friends, mourning the Spanish Republic which he had always supported.

It was after his return from the Pacific Islands (where he had fled, frightened from a success too quickly acquired during his first painting exhibition at Galerie Zborowski in 1929) that he met Django Reinhardt at the port of Toulon. He offered room and board to the still unknown gypsy guitarist and introduced him to the music of Duke Ellington and Louis Armstrong. The Reinhardt family soon joined Savitry in Paris and took refuge from time to time in the photographer’s beautiful apartment on Boulevard Edgar Quinet, made evident in a few touching photographs.

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Mark Citret

Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968, and received both his BA and MA in Art from San Francisco State University.

Most of Citret’s work is not specific to any locale or subject matter. Still, he has worked on many photographic projects over the course of his career, and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York’s Catskill Mountains. In the mid to late 1980s he produced a large body of work with the working title of “Unnatural Wonders”, which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing a massive construction site in the southwest corner of San Francisco.

Since he moved to his current home in 1986, he has been photographing the ever changing play of ocean and sky from the cliff behind his house. Currently he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus.

Alan Hunter

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Alan Hunter (b. 1985) is a Seattle-based photographer, artist, and carpenter. He enjoys building and destroying, road trips, chopping wood, winter, black coffee, the forest, heavy metal, mutts, hops, and tacos.

Nicholas Nixon




Nicholas Nixon, born in 1947, is known for the ease and intimacy of his black and white large format photography. Nixon has photographed porch life in the rural south, schools in and around Boston, cityscapes, sick and dying people, the intimacy of couples, and the ongoing annual portrait of his wife, Bebe, and her three sisters (which he began in 1975). Recording his subjects close and with meticulous detail facilitates the connection between the viewer and the subject. Nixon has been awarded three National Endowment for the Arts Fellowships and two Guggenheim Fellowships. In 2014, Nixon’s annual portrait series, The Brown Sisters, reached its 40th anniversary and was exhibited at the Museum of Modern Art. In Summer 2013 Nixon’s book Close Far was released by Steidl. The body of work explores the relationship of the self in physical and psychological proximity to the urban landscape. In 2010, the Museum of Fine Arts, Boston exhibited Nicholas Nixon: Family Album, through May 2011. In 2006, Nixon’s ongoing portrait of the Brown sisters was exhibited at the Museum of Modern Art, New York and the Modern Art Museum of Fort Worth, Texas. In 2005 Nixon had a solo exhibition at the National Gallery of Art in Washington, D.C. and the Cincinnati Art Museum. Nixon’s work is included in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, New York, the San Francisco Museum of Modern Art and the Museum of Fine Arts in Boston, among many others.

 

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The Winners of World Press Photo 2017

The Dive

Sports – Second Prize, Singles Gaël Monfils of France dives for a forehand in his fourth round match against Andrey Kuznetsov of Russia during the 2016 Australian Open at Melbourne Park, Australia. The Australian Open holds the record for the highest attendance at a Grand Slam event.

Medics Assist a Wounded Girl

Spot News – Second Prize, Singles A Syrian girl cries out as a wounded child lies next to her at a makeshift hospital on 12 September 2016. She had been injured in reported government airstrikes on the rebel-held town of Douma, east of Damascus, Syria


Caretta Caretta Trapped

Nature – First Prize, Singles A sea turtle entangled in a fishing net swims off the coast of Tenerife, Canary Islands, Spain.


Big Cat In My Backyard!

Nature – Second Prize, Singles A wild leopard strolls through Sanjay Gandhi National Park, a protected area in the northern part of Mumbai city, India. The leopard is on its nocturnal prowl in the adjacent human settlements in search of food, which in these areas is typically dogs or pigs.

Monarchs In The Snow

Nature – Third Prize, Singles A carpet of monarch butterflies covers the forest floor of El Rosario Butterfly Sanctuary, in Michoacán, Mexico. The storm hit the mountains of Central Mexico, creating havoc in the wintering colonies of monarch butterflies just as they were starting their migration back north to the USA and Canada.

Rhino Wars

Nature – First Prize, Stories A black rhino bull is seen dead, poached for its horns less than 8 hours earlier at Hluhluwe Umfolozi Game Reserve, South Africa. Inside Kruger National Park, the largest rhinoceros reserve in the world, along the border of Mozambique and South Africa, there exists a battle between poachers and small NGOs trying to protect this rare species.


Pandas Gone Wild

Nature – Second Prize, Stories Ye Ye, a 16-year-old giant panda, lounges in a massive wild enclosure at a conservation center in Wolong Nature Reserve


Now You See Me

Nature – Third Prize, Stories Buffalos at the drinking station. These photos combine a well-known natural phenomenon: the starry sky and portraits of wild animals not visible to the naked eye. The series needed very accurate planning, research, and preparation as the photos were made with remote control, and no modification was possible while capturing the photos.

What ISIS Left Behind

People – First Prize, Singles Five-year-old Maha and her family fled from the village Hawija outside Mosul, Iraq, seven days ago. The fear of so-called Islamic State and the lack of food forced them to leave their home, her mother says. Now Maha lays on a dirty mattress in the overcrowded transit center in Debaga’s refugee camp.

Praying for a miracle – mental health problems in disabling environments in Africa

People – Second Prize, Singles Hellen (41) lives with a mental health problem. Her illness developed later in life. In developing countries, over 80 percent of people living with mental health problems do not receive any treatment. In African countries, treatment often comes in the form of prayer from a pastor or traditional healer. Modern medicine is available to very few.

Fidelity

People – Third Prize, Singles A woman strokes a girl’s head as she rests on her lap whilst sitting on a sofa in a police station in Camaguey, Cuba, on 12 February 2016, with a portrait of Fidel Castro hanging above them.

Enfarinat

People – Second Prize, Stories On 28 December each year, the “Floured War,” a 200-year-old tradition, takes place in Ibi in the province of Alicante, Spain. During the festival, the citizens are divided into two groups: the ‘Enfarinat’ (the floured) group simulates a coup d’etat and a second group tries to calm the rebellion. The teams play with flour, water, eggs, and colored smoke bombs

Grand National Steeplechase

Sports – First Prize, Singles Jockey Nina Carberry flies off her horse, Sir Des Champs, as they fall at The Chair fence during the Grand National steeplechase, during day three of the Grand National Meeting at Aintree Racecourse.

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The Winners of World Press Photo 2017

Iraq’s Battle To Reclaim Its Cities

General News – Second Prize, Stories More than two years after the Islamic State first blitzed across Iraq in 2014, Iraqi security forces are scrambling to evict the militant group from Mosul, its last major stronghold in the country. The campaign has displaced nearly 70,000 Iraqis, and may uproot hundreds of thousands more. A family flees the fighting in Mosul, as oil fields burned in Qayyara, Iraq.


Taking A Stand In Baton Rouge

Contemporary Issues – First Prize, Singles Lone activist Ieshia Evans stands her ground while offering her hands for arrest as she is charged by riot police during a protest against police brutality outside the Baton Rouge Police Department in Louisiana. Evans, a 28-year-old Pennsylvania nurse and mother of one, traveled to Baton Rouge to protest against the shooting of Alton Sterling.

Migrant Crossing

Contemporary Issues – Second Prize, Singles A woman is supported by two men while crossing a river, as refugees attempt to reach Macedonia on a route that would bypass the border fence

The Libyan Migrant Trap

Contemporary Issues – Third Prize, Singles Two Nigerian refugees cry and embrace in a detention center for refugees in Surman, Libya. The detention center houses hundreds of women escaping precarious conditions. Many claim they are regularly beaten or sexually assaulted, and receive insufficient amounts of food and water at the center. Most of these women were attempting to reach Europe by being smuggled across the Mediterranean in boats setting sail from neighboring Sabratah.

Victims Of The Zika Virus

Contemporary Issues – Second Prize, Stories In September 2015, babies in Brazil began to be born with microcephaly and other malformations, and in April 2016 the link between the Zika virus and these malformations was confirmed. Marcela (2) observes her sisters in her mother’s lap at the family’s home in the rural area of Areia. Twin sisters Heloisa (left) and Heloá (right) were born seven months prior with microcephaly caused by the Zika virus

Copacabana Palace

Contemporary Issues – Third Prize, Stories “Copacabana Palace,” an ironically named series of condominiums in Brazil, houses more than 300 homeless families. Built more than 30 years ago, construction on this complex was never finished and has since become squatted. A pastor, who also lives in the occupied buildings, explains all the construction problems. A couple of weeks ago, the hall floors from a building crashed down at night.

The Silent Victims Of A Forgotten War

Daily Life – First Prize, Singles Afghanistan has endured armed conflict since 1979, when the Soviet Union invaded. Afghan civilians are at greater risk today than at any time since Taliban rule, which ended in 2001. According to UN statistics, in the first half of 2016 at least 1,600 people died, and more than 3,500 people were injured. At the hospital, Najiba holds her two-year-old nephew Shabir who was injured from a bomb blast in Kabul on 29 March 2016.

Sweat Makes Champions

Daily Life – Second Prize, Singles Four students of a gymnastics school in Xuzhou, China, do toe-pressure training for 30 minutes in the afternoon.

Cuba On The Edge Of Change

Daily Life – First Prize, Stories In December, days after Fidel Castro’s death, his ashes were taken into the countryside, on a route that retraced, in reverse, the steps of the revolution he led in 1959. Towns and villages along the route were emptied of residents as thousands tried to catch a glimpse of Castro’s remains. For many, the death of Fidel Castro felt like that of a father.

Out Of The Way

Daily Life – Second Prize, Stories In Russia’s extreme north, century-long ways of life dominate the daily life of some of the most isolated parts of the desolate landscape. Modern civilization penetrates slowly and fragmentarily. There are no roads, and only one helicopter shuttle twice monthly. The residents’ ancestors can be traced back to hereditary hunters in a small settlement near Nizhnyaya Tunguska River, Russia, more than 300 years ago

Offensive On Mosul

General News – First Prize, Singles The Iraqi Special Operations Forces search houses of Gogjali, an eastern district of Mosul, looking for Daesh members, equipment, and evidence on 2 November 2016.

Left Alone

General News – Second Prize, Singles An 11-year-old girl from Nigeria (left), who said her mother died in Libya, cries next to her 10-year-old brother aboard an NGO rescue boat. The children had sailed for hours in an overcrowded rubber boat with other refugees during a rescue operation on the Mediterranean Sea, about 23 kilometers north of Sabratha, Libya.

Life Inside The Philippines’ Most Overcrowded Jail

General News – Third Prize, Singles An image from Quezon City Jail, one of the Philippines’ most overcrowded prisons. Conditions are getting worse as police wage an unprecedented war on crime. There are 3,800 inmates at the jail, which was built six decades ago to house 800, and they engage in a relentless contest for space. Men take turns to sleep on the cracked cement floor of an open-air basketball court, the steps of staircases, underneath beds and hammocks made out of old blankets.

They Are Slaughtering Us Like Animals

General News – First Prize, Stories President Rodrigo Duterte of the Philippines began his anti-drug campaign when he took office on 30 June 2016. Since then, more than 2,000 people have been slain at the hands of the police alone. Six-year-old Jimji cries in anguish as she screams “papa” before funeral parlor workers move the body of her father, Jimboy Bolasa, from the wake at the start of the funeral to Navotas Cemetery in Manila, Philippines. Unidentified men abducted Mr. Bolasa and a neighborhood friend one night. Less than an hour later, their beaten bodies, with signs of torture and gunshot wounds, were dumped under a nearby bridge.

Black Days Of Ukraine

Long-Term Projects – First Prize Ordinary people became victims of the conflict between self-proclaimed republics and the official Ukrainian authorities from 2014 onwards in the region of Donbass. Civilians escape from a fire at a house destroyed by an air attack in the Luhanskaya village.

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Doug Caplan

With a photographic career spanning over 20 years, Doug has been focused at producing monochromatic photographic artworks that approach a wide scale of subjects. His work is often presented in a multi-layered way, with an overt attempt to challenge the viewer.

By applying digital alterations and subtle abstraction concepts, Doug investigates the dynamics of landscape, architecture & urban environments, including the manipulation and his personal interpretations of the subject captured. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.

Doug’s photography directly responds to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that go un-noticed

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