Chargesheimer (Karl Heinz Hargesheimer)

Chargesheimer’s photographic oeuvre includes both social documentary images of postwar Germany and more experimental endeavors that reveal his extensive technical knowledge of photography. Following World War II, Chargesheimer, who was born Karl-Heinz Hargesheimer, documented his native city of Cologne, photographing scenes of daily life and taking portraits of politicians and visitors to the city, including Louis Armstrong. “I want to photograph more and more of real life, so that I can show and explain to people things they cannot see for themselves, perhaps because they are too near them to see properly, or because they are afraid and run away from them,” the artist once said. In his more experimental works, Chargesheimer created abstract montages by applying chemicals directly onto photo paper and negatives.

Peter Keetman

Keetman’s extensive portfolio combined nature and motion studies, experiments, industrial and applied photography.
Peter Keetman (1916–2005) was a central figure in German post-war modern photography,
Characteristic of Keetman’s work is his continuous and imaginative exploration of the camera’s potential to create rather than just capture images.
Keetman’s photographs unite the period’s two main aesthetic currents: On one hand there is the modernist intention to form, experiment, and abstract – on the other hand there is the wish for a humanist relationship to the world as well as a turning towards reconstruction, the city, and nature, up to its most fundamental elements.
Keetman stated that he discovers the “great picture” in the smallest details – and translates them into abstract images.
His bold, black and white, high contrasting photographs become abstract as a result of looking so closely at unusual details of different items, often including mechanical structures with reflective surfaces.

Aaron Siskind

Artist and educator Aaron Siskind holds a preeminent place in the history of American photography. He was the only photographic member of the American Abstract-Expressionist movement, drawing inspiration and inspiring notable modern painters such as Willem DeKooning Barnett Newman and Franz Kline. During the 1930s, Siskind was interested in documenting the pressing social conditions of his time. It was not until after an exploration of the external world had been exhausted, that he began using the outside world as a means of internal self-exploration –harnessing the associative powers of his vernacular objects. Siskind focused on the formal relationship between light, structure and texture, exploring ideas of decay and regeneration. His practice was an overtly straightforward technique of isolating and enlarging everyday subject matter, creating conceptual metaphors with new purpose and meaning. The artist ultimately radicalized the medium by pinpointing photography’s potential as an abstract form of expression and an aesthetic end in itself.


art 003

art 005

art 006

art 007

art 013

art 014

art 017

art 029

art 034

art 047

art 048

siskind 6

siskind 7






Jontxu Fernandez

Jontxu Fernández realizó sus primeros estudios de fotografía en el Instituto montando un laboratorio en blanco y negro con un profesor y unos pocos alumnos. Anteriormente observaba a su padre con su Yashica Mynister-D cómo realizaba las fotografías de los acontecimientos familiares, viajes, fiestas, etc., y después cómo proyectaba una a una toda una retahíla de diapositivas. Después, realizó sus estudios de Imagen y Sonido y la fotografía y el vídeo se convirtieron en sus obsesiones.

Por razones de oportunidad laboral empezó a trabajar más en el mundo audiovisual, inicialmente en ETB durante tres años realizando distintas tareas. Posteriormente, en 1998 se fue a Madrid a trabajar durante 4 años en Telecinco. En el 2002 volvió a Bilbao a trabajar en una productora como postproductor. En el 2005 junto a otros compañeros montaron una productora y a día de hoy trabaja como operador de cámara y postproductor en Arbela Films.

En cuanto la fotografía, tuvo un parón que le coincidió con la paternidad y mucha carga de trabajo. En el 2011 se compró su primera cámara digital y a partir de entonces es cuando ha crecido como fotógrafo. Para él la fotografía es una manera de expresarse, nunca de una manera preconcebida, sale a fotografiar lo que surja, sin definir ningún tipo de proyecto en especial.

La fotografía callejera es el tipo de fotografía con el que más cómodo se siente. Es estar abierto a lo que sucede a nuestro alrededor y documentarlo, capturar lo que nos interesa en un pequeño rectángulo sin que podamos preparar nada en absoluto, en definitiva adelantarse y prever, estar atento… componer… y fotografiar.


Harold Cazneaux

Harold Cazneaux (30 March 1878 – 19 June 1953) was an Australian pictorialist photographer; a pioneer whose style had an indelible impact on the development of Australian photographic history. In 1916, he was a founding member of the Pictorialist Sydney Camera Circle. As a regular participator in national and international exhibitions, Cazneaux was unfaltering in his desire to contribute to the discussion about the photography of his times. He created some of the most memorable images of the early twentieth century.



Wynn Bullock

The medium of photography can record not only what the eyes see, but that which the mind’s eye sees as well. The camera is not only an extension of the eye, but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye visible.

As long as I can remember, I have been filled with a deep desire to find a means of creatively interacting with the world, of understanding more of what is within and around me. It was not until I was 40, however, that I decided photography was my best way. When I photograph, what I’m really doing is seeking answers to things.

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature.

It is not that I am uninterested in telling visual stories about people and their everyday lives. I just like to leave this kind of work mostly to others. What I prefer is to trace the hidden roots of humanity deeply embedded in nature.




Benjamin Katz



Masao Yamamoto

Living in the forest, I feel the presence of many “treasures” breathing quietly in nature.
I call this presence “Shizuka.”
“Shizuka” means cleansed, pure, clear, and untainted.
I walk around the forest and harvest my “Shizuka” treasures from soil. I try to catch the faint light radiated by these treasures with both my eyes and my camera.
In Tao Te Ching , an ancient Chinese philosopher Lao-tzu wrote , “A great presence is hard to see. A great sound is hard to hear. A great figure has no form.”
What he means is that the world is full of noises that we humans are not capable of hearing. For example, we cannot hear the noises created by the movement of the universe. Although these sounds exist, we ignore them altogether and act as if only what we can hear exists. Lao-tzu teaches us to humbly accept that we only play a small part in the grand scheme of the universe.
I feel connected to his words. I have always sensed that there is something precious in nature. I have an impression that something very vague and large might exist beyond the small things I can feel. This is why I started collecting “Shizuka” treasures.
“Shizuka” transmits itself through the delicate movement of air, the smell of the earth, the faint noises of the environment, and rays of light. “Shizuka” sends messages to all five of my senses.
Capturing light is the essence of photography. I am convinced more than ever that photography was created when humans wished to capture light.
I hope you will enjoy “Shizuka”, the treasures of the forest, through my photographs.














Masao Yamamoto - Pigeon









Germán Lorca

German Lorca es un fotografo brasileño, uno de los principales de la tendencia modernista.  A finales de la década de 1940, German Lorca integra el Foto Cine Club Bandeirantes (FCCB), una asociación importante por reunir fotógrafos pioneros, que introducen nuevas tendencias en la fotografía brasileña, con una producción experimental inspirada en el surrealismo, el abstraccionismo y el concretismo.

Su obra revela, sobre todo, una mirada inusitada sobre el paisaje de la ciudad de San Pablo. La sensibilidad del fotógrafo se vuelve principalmente a las escenas de la vida cotidiana, registrando con mucha libertad imágenes que se revelan poéticas o que causan cierto extrañamiento. Su producción inicial tiene una participación decisiva en la renovación de la fotografía moderna en el país.

Marie Šechtlová

Marie Šechtlova, nee Kokešova (1928–2008) began her photographic career in 1945. After her marriage to Josef Šechtl, she helped develop the family Šechtl & Voseček photographic studio until 1953, when it was nationalized by the communist government. In the late 1950s, she became an art photographer, and in the 1960s, she was one of most successful photographers of “the poetry of the everyday”. Together with her husband, she published a number of books, and produced many exhibitions, and also pioneered the use of large scale photographic prints for interior decoration.

Alexander Grinberg



Alexander D. Grinberg (1885-1979) is one of the most respected Russian photographers of the twentieth century. Born at the end of the nineteenth century, and having lived ninety-four years, he experienced the Russian revolutionary, the Civil War, two world wars, stalinist repression along with numerous fluctuations in soviet political and cultural history. Even as a child Grinberg demonstrated a strong attraction to photography, taking his first photography at the age of ten.
By the age of twenty-two he was an active member of the Russian photographic society, where he became a leading creative force. In 1908 he was awarded the silver medal in the all-Russian photo exhibition in Moscow and the gold medal in the international photo-exhibition in dresden, which signaled the recognition of his talents on an international level.
In 1914 Grinberg was invited to work at the Khanzhankov film studio in Moscow. Becoming the head of the film advertising sections, he quickly established process for mass distribution and here he began his cinematographic career. He went on to work behind the camera for numerous studios. In the 1920’a his cinematographic experience led him to become an instructor at the state technical institute of cinematography where he began his association with Sergey Eisenstein who he photographed. His prestige was on the rise throughout the 1920s until 1929 when, under the storm of the cultural revolution the « old school » of Soviet photography came under fire as « depraved », and Grinberg fell out of favor.
The new cultural policy dictated that any eroticism in artistic forms was a remnant of bourgeois idleness, and inappropriate for soviet society. Nevertheless, Grinberg risked one more exhibition of his work in 1935 with images of partially dressed women, raising a storm of criticism, as well as prompting a few brave photographers to come to the defense of this artistic master. Consequently, for his unorthodox vision of photography he was arrested and sentenced to a labor camp for distribution of pornography. By 1939 he was released on early parole, for good behavior and industriousness, although by the time of his release he had permanently lost his sense of smell. He resumed to work as a photographer for a variety of institutions such as museums and taught photography.
His early work was not destroyed as would have normally happened because his older brother managed to hide the negatives for many years. During the second world war he worked to preserve and restore rare photo archives. After the war he worked in the house of models, photographing for fashion designers. In the 1950s he photographed various Soviet film starts and scientists.
His whole life was thus devoted to photography, which he never abandoned in the most difficult of circumstances.

Tomasz Gudzowaty

Tomasz Gudzowaty was born in 1971. He obtained a degree in law at the University of Warsaw. Among his interests are humanistic photography and the classic form of the black and white photo-essay. He began with nature photography and then turned to social documentary and for the last few years he has been focusing on sports photography. He is particularly interested in non-commercial sports, and also those that are not present in the media, sports that are exotic, atypical or somehow outside the mainstream. His photos have been published in Max Magazine, L’Equipe, The Guardian, Newsweek, Forbes, Time and Photo and he is also the author of several albums. He is a multiple winner of the most important photography contests, among others the World Press Photo, Pictures of the Year, NPPA Best of Photojournalism. He cooperates with Focus Fotoagentur in Hamburg and Warsaw’s Yours Gallery.

Abbas Attar

Abass Attar 6 - buddhist novice

Born a photographer, Abbas is an Iranian transplanted to Paris. He has dedicated himself to documenting the political and social life of societies in conflict. In his major work since 1970 he has covered wars and revolutions in Biafra, Bangladesh, Northern Ireland, Vietnam, the Middle East, Chile, Cuba, and South Africa during apartheid.
From 1978 to 1980, Abbas photographed the revolution in Iran, to which he returned in 1997 after seventeen years of voluntary exile. His book Iran Diary 1971-2002 is a critical interpretation of Iranian history, photographed and written as a private journal.
During his years of exile Abbas traveled constantly. Between 1983 and 1986 he journeyed through Mexico, attempting to photograph a country as a novelist might write about it. The resulting exhibition and book, Return to Mexico: Journeys Beyond the Mask, helped define his photographic aesthetic.
From 1987 to 1994, he focused on the resurgence of Islam throughout the world. Allah O Akbar: A Journey Through Militant Islam, the subsequent book and exhibition, spanning twenty-nine countries and four continents, attracted special attention after the 9/11 attacks by Islamic jihadists. A later book, Faces of Christianity: A Photographic Journey (2000), and touring show explored Christianity as a political, ritual and spiritual phenomenon
Abbas’ concern with religion led him in 2000 to begin a project on animism, in which he sought to discover why non-rational ritual has re-emerged in a world increasingly defined by science and technology. He abandoned this undertaking in 2002, on the first anniversary of 9/11, to start a new long-term project about the clash of religions, defined as culture rather than faith, which he believes are turning into political ideologies and therefore one of the sources of the strategic struggles of the contemporary world.
From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same sceptical eye. In 2013 he concluded a similar long term project on Hinduism, after which he started working on Judaism around the world.

Trent Parke


Trent Parke, the first Australian to become a Full Member of the renowned Magnum Photo Agency, is considered one of the most innovative and challenging photographers of his generation. Moving beyond traditional documentary photography, Parke’s work sits between fiction and reality, offering an emotional and psychological portrait of family life and Australia that is poetic and often darkly humorous.



Carlos and Jason Sanchez

Carlos and Jason Sanchez (Carlos Born 1976 and Jason 1981 in Montreal ) are Canadian fine art photographers known for their large-scale dramatic images. Thematically, their work centers on the psychological reflections of their subjects, and encourages the viewer to interact with the work by filling in the details in the open-ended scenes depicted. In their earlier work the Sanchez brothers depended on their pictures appearing to be part of a larger narrative, like a film still, to create narrative tension. Their later work still incorporates narrative threads, but has developed to into more of a story within a scene format.

Dora Maar

Dora Maar was a famed 20th-century French artist. Though she might be best remembered as a romantic partner and muse of Pablo Picasso, she was an accomplished artist who has been the subject of renewed interest thanks to several posthumous exhibitions. Working across media, Maar created many poetic photographs, Surrealist collages, and painterly depictions of landscapes in Provence. Inspired by Brassaï and Man Ray in particular, her striking black-and-white images capture the portraits of many artists and intellectuals of the era, including her lover. In one of Maar’s most famous series, she documented Picasso painting Guernica in its many stages. Their nine-year relationship ending badly in 1943, with Picasso abusing Maar both physically and emotionally. She was left distraught and in the care of controversial psychiatrist Jacques Lacan, who treated her illegally with electroshock therapy. Maar then went on to abandon photography and paint largely in private, creating works that were both profoundly personal and emotionally evocative, and it was only after her death that these were ever exhibited. Born Henriette Theodora Markovic on November 22, 1907 in Tours, France, Maar studied at the Académie Julian in Paris. Her work has been exhibited by Paris Galerie, the National Museum Centro de Arte Reina Sofia, Palazzo Fortuny, and in 2019, the Centre Pompidou. The artist died on July 16, 1997 in Paris, France.

Antoine d’Agata

Born in Marseilles, Antoine d’Agata left France in 1983 and remained overseas for the next ten years. Finding himself in New York in 1990, he pursued an interest in photography by taking courses at the International Center of Photography, where his teachers included Larry Clark and Nan Goldin.

During his time in New York , in 1991-92, d’Agata worked as an intern in the editorial department of Magnum, but despite his experiences and training in the US, after his return to France in 1993 he took a four-year break from photography. His first books of photographs, De Mala Muerte and Mala Noche, were published in 1998, and the following year Galerie Vu began distributing his work. In 2001 he published Hometown, and won the Niépce Prize for young photographers. He continued to publish regularly: Vortex and Insomnia appeared in 2003, accompanying his exhibition 1001 Nuits, which opened in Paris in September; Stigma was published in 2004, and Manifeste in 2005.

In 2004 d’Agata joined Magnum Photos and in the same year, shot his first short film, Le Ventre du Monde (The World’s Belly); this experiment led to his long feature film Aka Ana, shot in 2006 in Tokyo.
Since 2005 Antoine d’Agata has had no settled place of residence but has worked around the world.

Françoise Huguier

From fashion photography to photo reporting, from fugitive moments to photographic set up, Françoise Huguier keeps the same pronounced graphic look and the same humour. Passionate with trips and the meeting of territories and their inhabitants, she brings us in Africa with her first book : “Sur les traces de l’Afrique fantôme”, followed by “Secrètes” in which she succeeded to share the privacy of African women. Then she heads into Europe, in 1993, she kept a log of a lonesome trip to Siberia. She won a World Press prize for this work. “En route pour Behring” was published by Editions Maeght. In 2001, she worked several years in Saint-Petersburg about communal apartments. This work resulted in a book, “Kommounalki ” (Actes Sud, 2008) and a documentary film “Kommunalka”, screened in Cannes. Asia is also one of her favourite destinations. After discovering Japan in the 80s, she returned on her childhood’s footsteps, when she was a Viêt Minh prisoner in Cambodia.

The book “J’avais huit ans”, which tells this story, was published by Actes Sud in 2005. The journey goes on in South East Asia with “Vertical/Horizontal” in 2012 from Singapore to Bangkok via Kuala Lumpur. She illustrates the evolution of postmodern societies in Indonesia (with the hijabistas), in Malaysia (with the KPOP movement) and in South Korea (Virtual Seoul). Curator of the Mois de la Photo in 2008, Françoise Huguier is then artistic director for the 2nd Luang Prabang International Image Biennial in Laos (2010), and for Photoquai Biennial 2011– organized by the Quai Branly Museum. In 2014, a retrospective of her work is presented at the Maison Européenne de la Photographie. Françoise Huguier regularly exhibits her work all over the world : New York, Moscow, Seoul, Sao Paulo, Johannesburg, Lausanne, Berlin, London, Madrid, Bogota, Valencia, etc. In 2018, Reporters Without Borders celebrates her whole career in the album “100 photos for press freedom”.


Rogelio Cuellar

Rogelio Cuéllar nació en la Ciudad de México en 1950. Se inició como fotógrafo en 1967. Los últimos 30 años su interés ha abarcado básicamente el retrato de creadores contemporáneos de México y algunos países en las disciplinas de literatura, artes plásticas, teatro y música. Actualmente ha integrado un acervo de negativos correspondientes a más de mil personajes nacidos entre 1900 y 1980.
Trabaja la fotografía de autor en la que destaca la atención en el paisaje humano, ya sea en atmósferas urbanas o rurales en los diferentes estados de la República Mexicana. Para esta temática se nutre de los constantes viajes que realiza a los estados.
Otro de sus temas es el desnudo fotográfico, tanto masculino como femenino, trabajo que desarrolla en estudio y en exteriores con luz natural. De esta vertiente de su quehacer se han expuesto cerca de 300 fotografías en diferentes exposiciones individuales y colectivas en México y en diversas ciudades del mundo.
Realiza sobre todo la fotografía en blanco y negro controlando todas las fases del proceso en forma personal. Estos ámbitos de su interés los desarrolla en forma cotidiana, haciendo tomas fotográficas, trabajo de revelado, clasificación, edición, amplificado e impresión en técnicas de laboratorio en cuarto oscuro. Esto lo caracteriza como un fotógrafo tradicional, sello que vuelve singular su ejercicio profesional.
A partir de las becas del Sistema Nacional de Creadores de Arte ha podido clasificar aproximadamente el 60 por ciento del material que ha realizado durante 30 años. Este porcentaje equivale aproximadamente a 20 mil negativos.
Respecto al retrato de creadores, en los últimos 10 años ha participado en diversos homenajes a personajes como Rufino Tamayo, Efraín Huerta, Alberto Gironella, Elena Garro, Pedro Coronel, Guillermo Zafe, Fernando Benítez, Fernando Gamboa, Juan Rulfo, Rosario Castellanos, Lola Álvarez Bravo, Jaime García Terrés, Severo Sarduy, Juan José Arreola, Julio Cortázar, Jorge Luis Borges, Adolfo Bioy Casares, René Portocarrero, Fernando García Ponce, Rodolfo Morales, Alice Rahon, Rafael Alberti, Luis Cardoza y Aragón, Juan Soriano, Alfredo Zalce, Antoni Tápies, Emilio Carballido, Juan García Ponce, Pita Amor y Pablo O´Higgins, entre otros.
Asimismo, ha participado en homenajes a creadores contemporáneos vivos como Sergio Pitol, Vicente Rojo, Gilberto Aceves Navarro, Sebastián, José Luis Cuevas y Francisco Toledo.
Rogelio Cuéllar ha trabajado en varias ocasiones con la gran mayoría de los creadores, haciendo el seguimiento histórico de su proceso creador. De hecho, su trabajo es un referente obligado para reconstruir una época de la vida cultural de México, a través de los rostros de sus más destacados creadores.

Marco Paoluzzo

Born in Bienne (Switzerland), in 1949
Schools in Bienne, Fribourg and Lausanne
1977-80 School for photography in Vevey (Switzerland)
1981-96 Working as a freelance photographer for advertising and industry
Since 1996 Travel photography as a freelance photographer