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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Umberto Verdoliva
Umberto Verdoliva
Umberto Verdoliva

Umberto Verdoliva

Country: Italy
Birth: 1961

I was born in 1961 in Castellammare di Stabia near to Naples.
I live in Treviso (Italy).
I immediately loved street photography, this awareness over time has pushed me to investigate my "daily" in depth, constantly seeking poetry and beauty in the humanity around me.
From 2010 to 2017, I was a member of the international collective "ViVo" and in 2013 I founded "SPONTANEA" an Italian collective dedicated to street photography dissolved in 2019
I like to convey my passion by curating workshops, exhibitions, portfolio readings, presentations, writing articles and insights on photography.
Many of my photos and photographic projects have been published in the main Italian and international photography magazines.

Websites

www.umbertoverdoliva.com

@uverdoliva

 

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Paul Strand
Paul Strand
United States
1890 | † 1976
Paul Strand was born in New York City. As a teenager, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. A visit to Gallery 291 (owned by Alfred Stieglitz) proved to be a strong influence on Strand, who began to take photographs of his own. He experimented with abstraction but also used his camera as a means to promote social reform. Alfred Stieglitz praised these early efforts and featured Strand's work in his gallery and in his magazine Camera Work. In the early 1920s, Strand began to work in motion pictures as well as still photography. In June 1949, Strand left the United States to present a film in Czechoslovakia, an event which marked the beginning of his self-imposed exile overseas due to the prevailing climate of McCarthyism in America. He settled in Orgeval, France and in the ensuing years photographed extensively, and also produced six book "portraits" of places: Time in New England (1950), La France de Profil (1952), Un Paese (1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: An African Portrait (1976).Source: Robert Mann Gallery Strand married the painter Rebecca Salsbury on January 21, 1922. He photographed her frequently, sometimes in unusually intimate, closely cropped compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. The timing of Strand's departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand's collaborators were either Party members (James Aldridge; Cesare Zavattini) or prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or suspected of being so (Member of Parliament D. N. Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than 20 organizations that were identified as "subversive" and "un-American" by the US Attorney General. When he was asked by an interviewer why he decided to go to France, Strand began by noting that in America, at the time of his departure, "McCarthyism was becoming rife and poisoning the minds of an awful lot of people." During the 1950s, and owing to a printing process that was reportedly only available in that country at the time, Strand insisted that his books be printed in Leipzig, East Germany, even if it meant they were initially banned in the American market on account of their Communist provenance. Following Strand's move to Europe, it was later revealed in de-classified intelligence files, obtained under the Freedom of Information Act and now preserved at the Center for Creative Photography at the University of Arizona, that he was closely monitored by security services.Source: Wikipedia
F. Bessma Rhea
F. Bessma Rhea
United States
2002
F. Bessma Rhea is her father’s second-born daughter (first-born son), her mother’s last line of defense at the dinner table, and her sister’s favorite fun house mirror. She is the first person to speak in a crowded elevator and the last person to get a word in edgewise. Bessma has always been a big talker, but her preferred method of communication is using the visual language of photography. F. Bessma Rhea graduated from Montana State University in 2025, achieving a Bachelor of Fine Arts in Integrated Lens Based Media from the School of Film and Photography. Although Bessma spent the last four and a half years in Bozeman, Montana, Bessma was born, raised, and is now currently residing in San Diego, California. Her photographic journey has encompassed an exploration of various mediums, ranging from silver gelatin prints and digital flash photography, to alternative process and chromogenic printing in the color darkroom. From this exploration she learned to cultivate her aesthetic, her relationship to photography, and to refine and utilize her voice. In her own reflection, she sees herself as a detective and a scientist, but to the outside world, she is an artist and a photographer. With her camera she will continue to investigate and theorize about the world she’s a part of, and where she fits in. But in the moments she’s not photographing, she enjoys filthy explicit music – and classic literature. Gutter Dutchess: I organize my environment in the frame and listen to when the world tells me I am a woman. I consider questions like, “How do I photograph a homewrecker?” and “What is inherently aggressive about a haircut?”. I desperately follow curiosity like the north star. GUTTER DUCHESS is a punk portrait series represented by twenty color film images of friends, best friends, my sister, my mother, myself, and moments in between. From doctor’s appointments to dumpster diving, I comprehend a women’s world through a lens that is candid, impulsive, crude, jovial, contrite, and desperate to reject assimilation to any one characteristic. As I photograph, I find myself constantly fighting with my images because I am a pessimistic, hotheaded, angry little person. However, in these photographs, I am continuously confronted with an abundance of love from the women in my life, who are proof of the untamable female spirit. This work is messy, unglamorous, and a raw exploration of womanhood. Favoring emotional truth over aesthetic polish, my series sprinkles clues of the fallacy of attempting feminine definition. Artist Philosophy Photography is a method of comprehension, I want to understand what is here. I have always been intrigued by the surreal but perhaps that comes from a bigger desire to turn the psyche outward, to make the invisible visible. I am driven by the ability to push the boundaries of sensation through the uncanny, visceral, and provocative. Visual arts is my language to answer life’s biggest questions. Every series is a conversation and if photography is to speak then a camera is the tongue. I have completely fallen in love with the medium, and without the tongue there is no voice.
Orna Naor
Orna Naor
Israel
1960
My name is Orna Naor, a street and documentary photographer from Tel Aviv. In my work, I focus on human moments and gestures, touches, and looks. I shot around the world; Everywhere I try to show the faces of people, wherever they are; whether it's about different ceremonies, different cultures, and places, in everyday life and on holidays - human faces are revealed. At the same time as street photography, I focused in recent years on documentary series photography. In all these projects, my goal is one - to regain humanity to humanity. And if one picture touches one person - I'm glad. My works are shown in exhibitions in Israel and around the world (Local Testimony, Tel Aviv Sea, Israel Photography Festival, Miami Street Festival, Streets Sans Frontieres, London Street Festival, EinZweiBlicke, and others) and were published in a variety of magazines and newspapers ("Haaretz" blog, L'Arch Magazine, Lens Magazine, 50 shades of black, and others)
Carl Mydans
Carl Mydans
United States
1907 | † 2004
Carl Mydans was an American photographer who worked for the Farm Security Administration and Life magazine. Mydans grew up playing on the Mystic River near Medford, near Boston, Massachusetts. His father was an oboist. Mydans became devoted to photography while in college at Boston University. While working on the Boston University News he abandoned childhood dreams of being a surgeon or a boat builder in favor of journalism. His first reporting jobs were for The Boston Globe and the Boston Herald. After college, he went to New York as a writer for American Banker and then in 1935 to Washington to join a group of photographers in the Farm Security Administration. There he worked with other photographers like Dorothea Lange and Ben Shahn to document the conditions of the American rural workers. In 1935, he traveled throughout New England and America's South, documenting the end of a rural-based economy, and gained a measure of renown for his images of bedraggled Arkansas farmers and their families. It was the Great Depression, and the poorest of America's poor were devastated by the economic downturn. "One picture, of a Tennessee family living in a hut built on an abandoned truck chassis, portrays the misery of the times," noted Mydans' Times of London obituary, "as starkly as any photographs by his more celebrated contemporaries." In 1936, he joined Life as one of its earliest staff photographers (Alfred Eisenstaedt, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole were the original staff photographers) and a pioneering photojournalist. Mydans recorded photographic images of life and death throughout Europe and Asia during World War II traveling over 45,000 miles (72,000 km). In 1941, the photographer and Shelley Mydans were the first husband and wife team on the magazine's staff. Shelley and Carl were captured by the invading Japanese forces in the Philippines and interned for nearly a year in Manila, then for another year in Shanghai, China, before they were released as part of a prisoner-of-war exchange in December 1943. After their release, Mydans was sent back into Europe for pivotal battles in Italy and France. By 1944, Mydans was back in the Philippines to cover MacArthur's return. Mydans snapped the moment when General Douglas MacArthur purposefully strode ashore in the Philippines in 1945, The legendary officer had declared, when the Japanese came in 1942, "I shall return," and Mydans' photograph of the formidable general immortalized that claim for posterity. Some asserted that it must have been staged, but Mydans resolutely defended the photograph as entirely spontaneous, though he did admit that MacArthur was savvy about public-relations opportunities. The general had appeared in Mydans' other memorable image from that assignment, watching with other top U.S. brass as a Japanese delegation signed the official documents of surrender on an early September day in 1945. "No one I have ever known in public life had a better understanding of the drama and power of a picture," Mydans, said about MacArthur. Mydans also captured the signing of Japan's surrender aboard the U.S.S. Missouri. Some of Mydans's other famous pictures include the bombing of Chongqing, angry French citizens shaving the heads of women accused of sleeping with Germans during the occupation in 1944; a roomful of excited royal youngsters and their staid older relatives in 1954; and a 1950 portrait of Douglas MacArthur smoking a pipe. But he also photographed the war from the viewpoint of the ordinary soldier or sailor. "Resourceful and unruffled, Mr. Mydans sent back pictures of combat that even now define how some remember World War II, Korea, and other conflicts," noted The New York Times. Despite his two years in captivity, Mydans bore no ill will toward the Asian nation, and accepted an assignment to head Time-Life's Tokyo bureau with his wife. Time-Life was the publisher of Time, Life and other top magazines, which Mydans continued to provide with an array of visual stories. In 1948, he just happened to be in the city of Fukui when a destructive earthquake struck; some of his shots were taken on the street while buildings were collapsing around him. After covering the Korean War, Mydans traveled the globe for the next two decades for Life before the publication folded in 1972. When it was relaunched several years later, he was still listed as one of its contributing photographers. He died on August 16, 2004, of heart failure at his home in Larchmont, New York, at the age of 97. Widowed in 2002, Mydans was survived by his daughter, Misty, a California attorney; and his son, Seth, Asia correspondent for The New York Times.Source: Wikipedia Having started out as a newspaper reporter, Carl Mydans switched over to the camera and at the height of the Depression worked for the Farm Security Administration, documenting the travails of migrant farm families. After signing on with LIFE, he and his wife, Shelley, became the magazine’s first roaming photographer-reporter team. In 1941 they were sent to China to cover Japanese bombing raids there; late in the year they were trapped in Manila when the Japanese overran the Philippines, and they were held captive for nearly two years before being repatriated in a POW exchange. When the prison camp was about to be liberated, Douglas MacArthur sent Mydans in with the first tanks. Of course, Mydans’s picture of MacArthur “returning” to the Philippines is one of history’s most celebrated photographic images. Mydans was known also for his intriguing portraits of such as Pound and Faulkner. In the words of David Hume Kennerly, “Carl Mydans is a photographer’s photographer and a human’s human.” In the prison camp at Santo Tomas in the Philippines, said Shelley Mydans, “they didn’t feed us, so we were very hungry, and we were sick sometimes.” Rogers and Todd, at right, were among the three dozen men with whom Carl shared a room at the prison. Between them, the duo lost 131 pounds during their four years of internment.Source: LIFE
Richard Learoyd
Richard Learoyd
United Kingdom
1966
Richard Learoyd was born in the small mill town of Nelson, Lancashire, England in 1966. At the age of 15, his mother insisted he take a pinhole photography workshop, which he attributes as the start of his interest in photography. In 1990 he graduated from the Glasgow School of Art with a degree in Fine Art Photography. While there he studied with American photographer Thomas Joshua Cooper. In 1991 Learoyd was awarded an artist-in-residence at the Scottish Ballet. Learoyd taught photography at Bournemouth and Poole College from 1994 until 1999. In 2000, he moved to London where he worked as a commercial photographer. Source: Wikipedia Richard Learoyd’s color images are made with one of the most antiquarian of photographic processes: the camera obscura. Literally translated from Latin as “dark room,” Learoyd has created a room-sized camera in which the photographic paper is exposed. The subject—often a person, sometimes a still life—is in the adjacent room, separated by a lens. Light falling on the subject is directly focused onto the photographic paper without an interposing film negative. The result is an entirely grainless image. The overall sense of these larger-than-life images redefines the photographic illusion. Learoyd’s subjects, composed simply and directly, are described with the thinnest plane of focus, re-creating and exaggerating the way that the human eye perceives, and not without a small acknowledgement to Dutch Master painting. Learoyd’s black-and-white gelatin silver contact prints are made using the negative/positive process invented roughly 170 years ago by Englishman W. H. Fox Talbot. Working with a large and portable camera obscura of his own construction, Learoyd has journeyed outside of his London studio, into the art-historically rich English countryside, along the California coast, and throughout Eastern Europe, producing images that have long been latent in his imagination. The negatives are up to 80 inches wide, resulting in the largest gelatin-silver contact prints ever made. In 2015, Aperture released Richard Learoyd: Day for Night, a comprehensive book of color portraits and studio work, and concurrently, the Victoria & Albert Museum in London mounted a his first solo museum exhibition, Dark Mirror. In 2016, the J. Paul Getty Museum opened a solo exhibition of his large-scale portrait and still-life photographs, which then traveled to the Nelson-Atkins Museum of Art. In 2019, a survey exhibition will open at Fundación MAPFRE in Spain. Learoyd’s work is included in the collections of The Getty, Tate, Victoria & Albert Museum, Centre Pompidou, The Metropolitan Museum of Art, San Francisco Museum of Modern Art, Nelson-Atkins Museum, National Gallery of Canada, and Yale University Art Gallery, among others. Source: Fraenkel Gallery
Manuel Armenis
Manuel Armenis
Germany
1971
Manuel Armenis is an award winning independent street and fine-art photographer based in Hamburg, Germany, dedicated to documenting daily life. He was born in Mannheim (Germany). He studied at Icart, École de Photographie in Paris (France), and at the University of the Arts in London (England). Since graduating he has been working as an independent filmmaker and photographer. The emphasis of his practice is the realization of long-term projects with a focus on exploring the human condition within everyday and commonplace urban environments. Manuel´s work has been exhibited internationally in galleries in both solo and group shows. His photographs were published in leading contemporary photography magazines and online. He has received numerous awards, including 1. prize winner at the Sony World Photography Awards in 2018, and has been a finalist at the LensCulture Street Photography Awards in 2017 and at the Meitar Award for Excellence in Photography in 2019, among others. Manuel currently lives and works as a freelance photographer in Hamburg, Germany. About Diamond Days The quintessential trait of the mundane is, of course, its lack of spectacle. It is recognizable to us, familiar, in its plainness and with its non-event-character. Due to those alleged properties it is a world that gets all too willingly labeled boring and banal. At times we might even feel offended by its lack of sophistication. We believe to know the mundane well, but, unimpressed by its unremarkable nature, we usually choose to look elsewhere. And yet, as much as we try to ignore it, there remains this suspicion that we might not be able to evade it. An inkling that it might contain something that keeps us connected. The series Diamond Days is an exploration of the commonplace. We are shown snippets of the everyday, fragments of moments, ordinary situations. There is a playful touch to this world, a colorful lightness and warmth, a sense of joy; and yet, these unassuming landscapes seem to contain something else. Elusive. Layered. Ambiguous. A somewhat bleaker undercurrent which might pick up on the sensation of slight unease that we often associate with the ordinary. By carrying signs of human behavior and a way of living, the ordinary provides us with a rendering of the now. But it also contains references to a time gone by and challenges us to look back. It exposes our need to make sense of our lives and raises the tricky question of what could have been. It confronts us with the notion of missed opportunities and unfulfilled dreams. And it reveals our disposition to fill any void with nostalgia.
Jacqui Turner
Jacqui Turner
United States
1955
Art enables us to find ourselves and lose ourselves at the same time. - Thomas Merton I am a Fine Art Photographer residing in Monterey Bay. My work consists of abstracts, surrealism, still lifes, landscapes, architecture, and portraits. I strive to create works of art that exhibit beauty, timelessness, and meaning. My photography has been nourished by my career as a dancer/choreographer. Engaging in the elements of shape, form, design, light, and emotion, empowers me to express reflections of our experience of reality. As I pick up my camera, a creative evolution begins. Approaching the natural world with awe and wonderment, I am transported. My photographs express what I am feeling within, what I am drawn to, what touches me, then I frame it, and the final interpretation is left up to the viewer. I am a longtime member of the Center for Photographic Art Carmel, CA and ImageMakers of Monterey, in which I was Director for 6 years. I also teach photography and art to youth, and have been a photography assistant for several local photography workshops over the years. My work has been displayed at the New York Center for Photographic Art, A. Smith Gallery, SE Center for Photography, RI Center for Photographic Art, Center for Photographic Art, Praxis Gallery, All About Photo, Pacific Grove Art Center, Monterey Maritime Museum, ArtVale Gallery, Alvarado Gallery, Marjorie Evans Gallery, Carmel Visual Arts, Homescapes, Carl Cherry Center, Spider Awards Online Exhibits, Triton Museum Online Exhibit, Merit Award Black And White Magazine, and other venues. Statement I spent most of my life as a dancer and a choreographer, and now I find that I respond to the visual world through that lens. In shapes and forms, I see grace, mystery, fluidity, and emotion. Through this series, Veiled in Light, the leaves created their own dance, a dance expressed through the use of light, form, texture, and dimension. Within these images, light and dark reveal the sensuality of objects from the natural world. Working with a minimalist intent, I created this series to encompass what I love about nature. There is a transformation in the free flowing forms, evoking nature's seductiveness while instilling a sense of peace and serenity, a combination that I perceive as a dance, a performance, a celebration of the beauty of the natural world.
Ralph Gibson
Ralph Gibson
United States
1939
Ralph Gibson is an American art photographer best known for his photographic books. His images often incorporate fragments with erotic and mysterious undertones, building narrative meaning through contextualization and surreal juxtaposition. Ralph Gibson studied photography while in the US Navy and then at the San Francisco Art Institute. He began his professional career as an assistant to Dorothea Lange and went on to work with Robert Frank on two films. Gibson has maintained a lifelong fascination with books and book-making. Since the appearance in 1970 of The Somnambulist, his work has been steadily impelled towards the printed page. To date he has produced over 40 monographs, his most current projects being State of the Axe published by Yale University Press in Fall of 2008 and Nude by Taschen (2009). His photographs are included in over one hundred and fifty museum collections around the world, and have appeared in hundreds of exhibitions. Gibson has received fellowships from the National Endowment for the Arts (1973, 1975, 1986), a Deutscher Akademischer Austauschdienst (D.A.A.D.) Exchange, Berlin (1977), a New York State Council of the Arts (C.A.P.S.) fellowship (1977), and the John Simon Guggenheim Memorial Foundation (1985). The Rencontres d'Arles festival presented his work in 1975, 1976, 1977, 1979, 1989 and 1994. I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality. -- Ralph Gibson His book Syntax received a mention for the Rencontres d'Arles Book Award in 1983. He was decorated as an Officier de L'Ordre des Arts et des Lettres (1986) and appointed, Commandeur de L'Ordre des Arts et des Lettres (2005) by the French government. His awards include: Leica Medal of Excellence Award (1988), "150 Years of Photography" Award, Photographic Society of Japan (1989), a Grande Medaille de la Ville d'Arles (1994) and the Lucie Award for lifetime achievement (2008). Gibson also received an honorary doctorate of Fine Arts from the University of Maryland (1991), and a second honorary doctorate from the Ohio Wesleyan University (1998). He has worked exclusively with Leica for almost 50 years. Gibson currently lives in New York and travels frequently to Europe and Brazil.Source: Wikipedia Having begun his acclaimed photographic career as an apprentice to the great documentarians Dorothea Lange and Robert Frank, Ralph Gibson is known for his highly distinctive vision in still photography. By intensifying contrast and emphasizing the grain of the film in his prints, Gibson concentrates on the minute details: the edge of a café table, the arc of a hip, the glint of a fork. Gibson’s works are both formally vigorous and eternally evocative. His photographs are in major private and public collections worldwide, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Bibliothèque Nationale de France.Source: Weston Gallery I’m interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I’m not interested in the full-figure. I want to abstract forms. -- Ralph Gibson
Chiara Zonca
Chiara Zonca
Italy
1982
Chiara Zonca is a fine art photographer based in Western Canada. She is interested in portraying a connection between her feelings and the surroundings. By seeking isolated spaces as a form of exploration of self, she documents specific moments in time when solitude and open spaces alter her landscape perception. This shift enables her to see past the present and investigate the earth as a timeless, wide open space where she can then project her narratives. Her work has been exhibited in Sydney, New York, Los Angeles and London and printed on a variety of publications including Harper's Bazaar, The Earth Issue, Satori Mag, Jungle Magazine, NOICE and many more. In 2019 she released her first monograph, Desert Portraits, by Scandinavian Publisher The New Heroes & Pioneers, based on her series Moon Kingdom.
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