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Win a Solo Exhibition in May 2026 + An Exclusive Interview!
Win a Solo Exhibition in May 2026 + An Exclusive Interview!
Iris Brito Stevens
Iris Brito Stevens
Iris Brito Stevens

Iris Brito Stevens

Country: United States

I was born and raised in Salinas, California (U.S.), a farming community known for its lettuce. As a daughter of Mexican immigrants, I became aware of, and sensitive to, the differences between the immigrant and non-immigrant communities and their perspectives, which at times felt narrow and somewhat limiting. Growing up surrounded by family grounded me deeply, yet an insatiable curiosity and passion for learning about the world beyond me, called out. I spread my wings and traveled to destinations that were completely foreign, often under the auspices of humanitarian and educational endeavors. The lens through which I saw the world opened-up and expanded my perspective, just like a camera. Through first-hand experience, I became aware of the lives and conditions of marginalized and oppressed peoples globally. This new dimensionality helped me to confront certain realities, to grow, and to self-reflect on what it means to be human. It also led me toward activism and social documentary photography, which enabled me to blend visual narrative with the stories of other people through projects or partnerships in Uganda, the Occupied Palestinian Territories, Spain, San Francisco and more. My photographic work is my passion, and it serves to create awareness and a more intimate human connection, by encouraging a path that looks beyond our limited and inherent perceptions and conditioning.

Statement
In America, we place so much value on individuality and independence, that we forget how truly interdependent we are on one another, both on a local and global scale. We have become hyper-focused on the self and are losing our ability to empathize and see the intense vulnerability around us—though considering recent events, this appears to be shifting. As a social documentary photographer, I am drawn towards people and the conditions that are relevant in their lives, as individuals and as members of a family, community, or society. Our perception of the world can be limited to our own multi-faceted forms of conditioning; I utilize the impact of visual narrative to bring awareness of the human condition worldwide. There is so much beauty in diversity. I want to validate that diversity through photography, to help others grow in that appreciation, to demonstrate that we are all a part of something collectively - that life's experience doesn't begin and end with us, as individuals. Dominance consciousness is so pervasive in society; it's like a box with thick walls and nothing to see, nowhere to go, devoid of any inspiration. It kills curiosity and ideas. I want us all to be inspired and curious by the diversity we see and experience in everyday life. Diversity is beautiful.
 

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More Great Photographers To Discover

Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. They traveled together until King's death in 1968, which upset Schulke so much that he stopped covering the civil rights movement and began to work on more commercial projects. In all, he took around 11,000 photographs of King, including some of his funeral. Schulke photographed Muhammad Ali, Jacques Cousteau, Fidel Castro and John F. Kennedy. He also was a photographer for the Environmental Protection Agency's Documerica program in the early 1970s. Schulke died on May 15, 2008 at age 77. The Dolph Briscoe Center for American History at the University of Texas at Austin holds 300,000 of his photographs. His photographs are also held in a variety of museums, including the Harvard Art Museums, the Cleveland Museum of Art, the National Museum of American History, the University of Michigan Museum of Art, the Minneapolis Institute of Art, and the Lehigh University Art Galleries.Source: Wikipedia My biggest problem with young photographers is that they don't think about context. They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
Marsel van Oosten
The Netherland
1967
Dutch-born Marsel van Oosten began his career in advertising. Photography started as a means of escaping fast-paced advertising life, but it was during a trip to Tanzania and close encounters with the animals of the Serengeti, where Marsel developed a passion for wildlife photography. Five years later, Marsel left advertising to become a full-time photographer and hasn’t looked back. Marsel’s images, which feature in galleries and museums across the globe, are famed for their composition, lighting, color and perspective. In his work, he tries to keep his images clean and uncluttered, enabling the viewer to focus on the image’s inherent graphic qualities. As a result, he has been decorated with many prestigious awards, including winning the overall titles for: Wildlife Photographer of the Year (Natural History Museum), Travel Photographer of the Year (TPOTY), and International Nature Photographer of the Year (2x in the International Photography Awards).Source: Nikon UK After graduating from the Academy of Arts with a BA in Art Direction and Graphic Design, Dutch-born Marsel van Oosten started a career in advertising. As an Art Director at various renowned agencies, he won numerous awards for his work, amongst which are one silver and two gold Lions at the prestigious International Advertising Festival in Cannes. The acclaimed TV commercial he made for a Dutch nature conservation organization is representative of both his creative and emotional approach to communication, as well as for his love for the natural world and his concern for the environment. Taking photographs began as a way for Marsel to escape from life in the fast lane. After a trip to Tanzania, however, things started getting more serious. Close encounters with the animals of the Serengeti fueled his passion for wildlife photography, which soon became his specialty. Five years later, Van Oosten took the plunge and swapped his established advertising career for the precarious life of a nature photographer, a move that demands unyielding devotion and commitment. His images are featured in galleries and museums, are used worldwide in advertising and design, and he is a regular contributor to National Geographic. When Marsel is not traveling, he lives in South Africa, with producer and videographer Daniella Sibbing. Together they run specialized nature photography tours for all experience levels to exciting destinations worldwide.Source: Squiver
Roberta Pagano
I’m a naturalist and photographer passionate about the Arctic, which have visited several times over the years. The Svalbard archipelago is a place for which I have a heartfelt and unconditional love. A land of endless spaces and profound silence, where frozen landscapes stretch beyond the horizon and wildlife exists in a state of rare, fragile beauty. There, white is never just white, but a universe of a thousand subtle shades. Svalbard: The White Fragile Kingdom These photos are part of a larger project on the Svalbard archipelago, the result of several trips I have made and continue to make. I love photographing Svalbard throughout the year, witnessing the passage of seasons and the remarkable changes they bring to the landscape. The shifting light, the diversity of wildlife, and the subtle transformations of the terrain continually inspire me, and each trip poses unique photographic challenges. Winter expeditions are physically demanding and logistically complex, but they reveal another side of Svalbard—a land defined by silence, solitude, and an ethereal atmosphere, with low-angle light that lingers in the sky. This season’s light brings soft pastel shades, making the scenery truly magical. From mid-April to mid-May, daylight lasts nearly 24 hours, and the incredible light conditions shift between pink, violet, blue, and red tones depending on the time of day—dreamlike conditions for photographers. This is a time of extremes: harsh and cold, and although wildlife is less abundant compared to summer, it offers an unforgettable experience of the Arctic environment. From spring to summer, Svalbard bursts into life, hosting an incredible abundance of wildlife. I am deeply fascinated by the Arctic and the remarkable adaptations of species to its extreme environment. Each visit offers something new and unexpected and never fails to surprise me. I’m a naturalist and photographer passionate about the Arctic, which have visited several times over the years. The Svalbard archipelago is a place for which I have a heartfelt and unconditional love. A land of endless spaces and profound silence, where frozen landscapes stretch beyond the horizon and wildlife exists in a state of rare, fragile beauty. There, white is never just white, but a universe of a thousand subtle shades. “No photograph is worth more than the life it portrays or the landscape it inhabits.” This belief guides every step I take in the field. The welfare of wildlife and the integrity of its environment will always come before the pursuit of an image.” AAP Magazine AAP Magazine 54 Nature
Jane Fulton Alt
United States
Jane Fulton Alt began exploring the visual arts while pursuing her career as a clinical social worker. She received her B. A. from the University of Michigan and her M. A. from the University of Chicago. She is living and working on the shores of Lake Michigan in Evanston, Illinois, and in close proximity to the Mississippi River in New Orleans. Alt is a three time winner of Photolucida's Critical Mass for her Katrina and Burn portfolios. She has authored Look and Leave: Photographs and Stories of New Orleans's Lower Ninth Ward (The Center for American Places at Columbia College Chicago, 2009), The Burn (Keher Verlag, 2013), and her Crude Awakening portfolio was printed in multiple publications worldwide. She received the 2012 Humble Arts 31 Women in Art Photography Award, the Photo District News 2011 Curators Choice Award, the 2007 Illinois Arts Council Fellowship Award and multiple Ragdale Foundation Fellowships. Alt has exhibited nationally and internationally and her work can be found in many permanent collections. The Burn These photographs are part of a series begun in 2007 when I observed my first controlled prairie burn. I was immediately struck by the burn’s visual and expressive potential, as well as the way it evoked themes that are at the core of my photographic work. A controlled burn is deliberately set; its violent, destructive force reduces invasive vegetation so that native plants can continue to prosper. The elements of the burn—the mysterious luminosity, the smoke that both obscures and reveals—suggest a liminal space, a zone of ambiguity where destruction merges with renewal. These images of regenerative destruction have a personal significance—I photographed my first burn within the space of a few days when my first grandchild was born and my sister began a course of chemotherapy—yet they constitute a universal metaphor: the moment when life and death are not contradictory but are perceived as a single process to be embraced as a whole. between fire/smoke is an unfolding visual and textual journey through a landscape of liminality, leading to a place where all that is unresolved is imaginable. Article: Still Life
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