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LAST CALL TO Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Ted & Nune
Ted & Nune
Ted & Nune

Ted & Nune

Country: United States

Ted & Nune are a couple in life and art. Their backgrounds in International Affairs (Ted) and Russian Literature (Nune) feed their art. As an artist duo, they seek out a spiritual dimension in human constructions, make studies of architecture and industry, and bring a joint male-female point of view to their shared vision. People appear infrequently in their images and when they do, they are often just blurs across the frame.

Since 2015, their collaboration has produced several internationally recognized projects, including: Individuum, 1st place in IPA 2019 Category Architecture Abstract; Spiritual Japan, 1st place in IPA 2017 Category Architecture Historic; UAE Design and Desert Agreement, 1st place in TIFA 2016 and 2017, respectively, Category Architecture. Their recent project, Crawlspace, was part of Exlab 2021 and exhibited in NYC's Foley Gallery in July 2021.

Websites

www.tedandnune.com

@tedandnune

 

Inspiring Portfolios

Aleksander Rodchenko
© Aleksander Rodchenko
Fabien Dendiével
© Fabien Dendiével
Umberto Verdoliva
© Umberto Verdoliva
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More Great Photographers To Discover

Dale Odell
Dale Odell
United States
Dale O'Dell lives in Prescott, Arizona and is a professional photographer and digital artist. He studied photography and philosophy in college and earned a Bachelor's of Science degree in Photography in 1982 from Sam Houston State University in Huntsville, Texas. Since 1979 he has exhibited in over two-hundred group and solo shows, his works have been exhibited and published internationally and he's written for most of the leading photographic magazines and journals. He is a consummate experimenter and innovator and works with diverse subjects in a variety of styles. He has published nineteen art books and is currently at work on number twenty. He uses modern digital technologies to create artwork in a variety of styles. “Using the power of technology and an active imagination there are few limitations. I've produced straight documentary-style photos, advertising, editorial illustration, street photography, portraiture, landscape, infrared, night and astronomical photography as well as abstract-expressionism, impressionism and surrealism. You won't find me making the same image over and over.” Despite their photographic origins, Dale's images are best described as 'photo/digital artworks' and are not all straight photographs. He has fully embraced the digital revolution of photography to explore expression beyond traditional photographic limitations. Zen Cairns A cairn is a human-made pile (or stack) of stones. The word cairn comes from the Scottish Gaelic: càrn. Cairns are used for a variety of purposes. In modern times, cairns are often erected as landmarks, a use they have had since ancient times and cairns are used as trail markers in many parts of the world. They vary in size from small stone markers to entire artificial hills, and in complexity from loose conical rock piles to delicately balanced sculptures and elaborate feats of megalithic engineering. Cairns may be painted or otherwise decorated, whether for increased visibility or for religious reasons. The Zen Cairns came into existence as a result of researching what other photographers had done with the cairn as subject. I look at others' works to see what's already been done with the subject. This helps me to avoid repeating what others have done and (hopefully) forge my own path of originality with the subject. As I studied the myriad of cairn photos online I saw some that made me look twice and carefully consider the laws of gravity. While I saw many examples of true 'balance artistry' when stacks of rocks seemed to be magically balanced for real, I also saw images that really did defy the law of gravity. These were 'impossible' stacks of rocks that, at first glance, looked 'real,' but they were, in fact, held together with metal rods or glue. These were probable yet impossible cairns. A quick look at these could easily fool the viewer. Looking at the probable yet impossible cairns I thought I could create a series of physically impossible yet visually probable cairns - after all, I do have Photoshop. Almost immediately I could see the finished images in my minds-eye. I went to my sketchbook and very quickly did a series of drawings - which came to me full-blown, complete with titles! I already had the river rocks in my studio so I photographed them all twice, with lighting from two different directions, allowing me to use them in different ways in Photoshop yet keep a consistent direction of light. With the image fully-formed in my mind's eye I created a portrait-studio type background which would be lit oppositely from the rocks. I did a quick version of this background as a proof-of-concept (which worked) and then went to various paint and lighting programs to create the actual background. Interestingly, each new and improved background failed to work in the image and I ultimately ended up using the original proof-of-concept background. Sometimes you get it right the first time but you've got to do the extra work anyway so you know the first one really does work and you didn't quit too soon. For consistency I used the same background for all ten images. Using my sketches as guides I assembled each image from individually photographed river rocks. I added shadows to simulate what it would really look like as a set in the studio. I sharpened all the rocks to enhance their texture and softened the background to create a more three-dimensional effect. I worked in black and white to emulate the luminosity of classic B&W still-life prints from the darkroom. It is my hope that the direction of light, shadows and texture induces an emotional response of 'reality' in the viewer before the intellect of analysis informs them, 'this is not real.'
Anna Tut
Anna Tut
Russian Federation
I was born on the border of China and Russia in the Far East. My father photographed with a film camera and involved me in the process of developing films, so I have been in contact with photography since childhood. But I didn’t have my own camera until I was 40 years old. I moved around a lot and started photography when my main financial career stopped inspiring me. I began my photography career with commercial shoots and work for small print publications with large circulation. I have increasingly realized that through the language of photography, I can convey my vision of the world to the audience. I was born in a unique region where many small ethnic groups live, ones that cannot be found in other corners of the planet. These ethnic groups have their own culture, with unusual prints and patterns, as well as their own tales and myths. In addition to my documentary projects, I also create art projects based on cultural traditions that are in my blood. I am married, have a son and a daughter, a disabled dog, and I cook kharcho soup well. I am currently studying in a two-year program at the Joseph Bakshtein Institute of Contemporary Art in Moscow. Article Mother and Daughter
Roger Fenton
Roger Fenton
United Kingdom
1819 | † 1869
Roger Fenton was a British photographer, noted as one of the first war photographers. He was born into a Lancashire merchant family. After graduating from London with an Arts degree, Fenton became interested in painting and later developed a keen interest in the new technology of photography after seeing early examples at The Great Exhibition in 1851. Within a year, he began exhibiting his own photographs. He became a leading British photographer and instrumental in founding the Photographic Society (later the Royal Photographic Society). It is likely that in autumn 1854, as the Crimean War grabbed the attention of the British public, that some powerful friends and patrons – among them Prince Albert and Duke of Newcastle, Secretary of State for War – urged Roger Fenton to go to the Crimea to record the happenings. The London print publisher Thomas Agnew & Sons became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the British people, and to counteract the occasionally critical reporting of correspondent William Howard Russell of The Times; the photographs were to be converted into woodblocks and published in the less critical Illustrated London News. He set off aboard HMS Hecla in February, landed at Balaklava on 8 March and remained there until 22 June. Fenton took Marcus Sparling as his photographic assistant, a servant known as William and a large horse-drawn van of equipment. Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was only able to produce pictures of stationary objects, mostly posed pictures; he avoided making pictures of dead, injured or mutilated soldiers. But he also photographed the landscape, including an area near to where the Charge of the Light Brigade – made famous in Tennyson's poem – took place. In letters home soldiers had called the original valley "The Valley of Death", and Tennyson's poem used the same phrase, so when in September 1855 Thomas Agnew put the picture on show, as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he took the troops'—and Tennyson's—epithet, expanded it as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, and assigned it to the piece; it is not the location of the famous charge, which took place in a long, broad valley several miles to the south-east. Despite summer high temperatures, breaking several ribs in a fall, suffering from cholera and also becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make over 350 usable large format negatives. An exhibition of 312 prints was soon on show in London and at various places across the nation in the months that followed. Fenton also showed them to Queen Victoria and Prince Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales were not as good as expected. Despite the lack of commercial success for his Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. However, as time moved on, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common people. It is likely that Fenton, from a wealthy background, disdained 'trade' photographers, but nevertheless still wanted to profit from the art by taking exclusive images and selling them at good prices. He thus fell into conflict with many of his peers who genuinely needed to make money from photography and were willing to 'cheapen their art' (as Fenton saw it), and also with the Photographic Society, who believed that no photographer should soil himself with the 'sin' of exploiting his talent commercially in any manner. Amongst Fenton's photographs from this period are the City of Westminster, including The Palace of Westminster nearing completion in 1857 – almost certainly the earliest images of the building, and the only photographs showing the incomplete Clock Tower. In 1858 Fenton made studio genre studies based on romantically imaginative ideas of Muslim life, such as Seated Odalisque, using friends and models who were not always convincing in their roles. Although well known for his Crimean War photography, his photographic career lasted little more than a decade, and in 1862 he abandoned the profession entirely, selling his equipment and returned to the law as a barrister. Although becoming almost forgotten by the time of his death seven years later he was later formally recognized by art historians for his pioneering work and artistic endeavour. In 1862 the organizing committee for the International Exhibition in London announced its plans to place photography, not with the other fine arts as had been done in the Manchester Art Treasures Exhibition only five years earlier, but in the section reserved for machinery, tools and instruments – photography was considered a craft, for tradesmen. For Fenton and many of his colleagues, this was conclusive proof of photography's diminished status, and the pioneers drifted away. He died 8 August 1869 at his home in Potters Bar, Middlesex after a week-long illness – he was 50 years old. His wife died in 1886. Their graves were destroyed in 1969 when the Potters Bar church where they were buried was deconsecrated and demolished.Source: Wikipedia Roger Fenton is a towering figure in the history of photography, the most celebrated and influential photographer in England during the medium’s “golden age” of the 1850s. Before taking up the camera, he studied law in London and painting in Paris. He traveled to Russia in 1852 and photographed the landmarks of Kiev and Moscow; founded the Photographic Society (later designated the Royal Photographic Society) in 1853; was appointed the first official photographer of the British Museum in 1854; achieved widespread recognition for his photographs of the Crimean War in 1855; and excelled throughout the decade as a photographer in all the medium’s genres—architecture, landscape, portraiture, still life, reportage, and tableau vivant. Fenton’s most widespread acclaim came in 1855, with photographs of the Crimean War, a conflict in which British, French, Sardinian, and Turkish troops battled Russia’s attempt to expand its influence into European territory of the Ottoman empire. Fenton was commissioned by the Manchester publisher Thomas Agnew & Sons to travel to the Crimea and document the war, and his mission was encouraged by the government, which hoped that his photographs would reassure a worried public. Fenton’s extensive documentation of the war—the first such use of photography—included pictures of the port of Balaklava, the camps, the terrain of battle, and portraits of officers, soldiers, and support staff of the various allied armies. Perhaps inspired by the experience of traveling through Constantinople en route to Balaklava, or perhaps simply sharing the mid-nineteenth-century vogue for all things exotic, Fenton produced a theatrical suite of Orientalist compositions during the summer of 1858—costume pieces that strove for high art rather than documentation and that were, in a sense, an antidote to the harsh realities he had recorded in the Crimea. They owed as much to the paintings of Delacroix and Ingres as to Fenton’s own experience in the East. In 1862, after a final series of photographs—a remarkable group of lush still lifes—Fenton sold his equipment and negatives, resigned from the Royal Photographic Society, and returned to the bar. In the course of a single decade, Fenton had played a pivotal role—by advocacy and example—in demonstrating that photography could rival drawing and painting not only as a means of conveying information, but also as a medium of visual delight and powerful expression.Source: Metropolitan Museum of Art
Lauren Stewart
Lauren Stewart
United States
1983
Lauren Stewart is a self-taught American documentary & street photographer. She graduated from the College of Charleston in 2005 with a degree in English. From 2017 to 2019 she lived in and traveled through China, Nepal, India and Thailand where she covered South East Asia. Her work focuses on documenting people’s daily lives to make global cross-cultural connections between the viewer and the subject. Her work has appeared in numerous international publications such as Suitcase Magazine, Electrify Magazine, Matador Network, NR Magazine as well as others. She was selected to be a part of the inaugural Women Street Photographers exhibit in 2018 in New York City and was also a finalist in the WSP exhibitions in 2019 and 2024. Her work has also been included in the PHOS Street Photography Days Exhibition in Bulgaria in 2018 and most recently in PHOTO SC’s Feminism exhibition in Columbia, South Carolina in 2024. She currently lives in the United States with her family while working on both street photography as well as long-term documentary projects revolving around the culture of the American South.
Landry Major
Landry Major
United States
Landry Major is an American artist based in Los Angeles, California. Her work explores the ideas of home, culture and our relationship to the land and animals that we steward. Her work has led her to connect her family's heritage ranching in Canada, with the family-owned ranches in the American West. It is this connection that brings the grace and poetry to her images. Her work has been exhibited in a number of notable exhibitions, including a solo exhibition at The Griffin Museum of Photography in Boston, Massachusetts. Keepers of the West My childhood summers were spent on a family dairy farm in Nova Scotia. Waking at dawn and herding cows alone in the field, where the only sounds were the birds waking and the gentle murmurs of the cows. The smell of fresh milk and fields of grass were the touchstones of my youth. The barn where I helped my uncle hand-milk the cows is now gone back into the earth. My ongoing series Keepers of the West took me back to fields at dawn, this time on the family-run ranches of the American West. Visions of the West have long been central to our culture, but the way of life of the cowboy and the family-run ranch is fast disappearing. Over half of all family owned ranches in Montana are run by people over 65 and many of their children are not choosing to remain in ranching. It is because I recognize these struggles that my series celebrates the beauty of family-run ranches. The lives of these people are framed by hardship, yet they thrive in the simpler way of life that remains their routine, and in the stewardship of the land and the animals they tend. Over the past four years I have witnessed the strength, determination and commitment of these families to continue this way of life, and pass it on to their children. The images are made up of the places, people, and creatures that have welcomed me into their world to remind us of the arresting moments of grace and beauty found in a life lived under the wide-open western skies. Something will have gone out of us as a people if we ever let the remaining wilderness be destroyed ... We simply need that wild country available to us, even if we never do more than drive to its edge and look in. Wallace Stegner, The Sound Of Mountain Water
Robbe Maes & Reynout Dekimpe
Robbe Maes & Reynout Dekimpe
Belgium
Reynout Dekimpe (Bruges, 1991) graduated as an actor at Luca school of arts. He created his own theatre company ‘RAF’ for which he writes his own plays. Next to acting and writing, creating worlds in miniature is his lifelong passion. Dekimpe's unique blend of artistic talents has led to the development of immersive experiences that blur the lines between theatre, film, and fine arts. Robbe Maes (Leuven, 1990) graduated as a filmmaker at the same school. He has directed several shortfilms and music videos. He his known for his playful and creative style that explores the boundaries of imagination. After meeting on a few filmsets, both artists moved to Antwerp in 2016 where the shared a house together. "Nr7" became their artistic playground for making miniature models and filming them in a darkened kitchen. During that period, they developed their unique style, which is characterized by handmade models as a central theme for cinematographic experiences. In january 2024, their first solo expo "Welcome to Fieldkapelle" premièred at the Rotterdam Photo festival, displaying several scalemodels and their accompanying photographs. Soon after they were awarded as "shortlist" artist for the Belfast photo festival and "longlist artist" for the Aesthetica Art price. Their current expo is now on display in the city center of Bruges. Instagram @robbe.maes @reynoutdekimpe
Laurence Leblanc
Laurence Leblanc
France
1967
Laurence Leblanc was born in Paris in the early days of June 1967. Starting her artistic training early on, she studied drawing, painting, and gravure as a child at the Musée du Louvre’s Ecole des arts décoratifs. Later on Leblanc studied visual art at the Academie Charpentier, at its historic La Grande Chaumiere workshop located in Paris. "Each of us has to tell something that nobody else can tell" -- Wim Wenders. Leblanc always had a deep desire to convey her world a little differently and it was in that spirit that she covered Peter Gabriel’s Secret World Tour in the 90’s, travelling large parts of the world with the British musican over the next two years. In 1999, Leblanc came to the attention of art critic and curator Régis Durand who described her work as : « It exists in these pictures a kind of familiar fantastic, a mix of ordinary poetry and some strangeness » Whatever the medium, the act of creation for Laurence Leblanc comes after gradual impregnation with the subject and his or her environment. The results are often carefully thought-out and reflect both the expansive and minute of the subject and, their context. Cambodian filmmaker Rithy Panh said of Leblanc that: « Her pictures look like souls… the fuzzyness is not fuzzy, the grainy asppearance is not grain, life is not exactly life. Yet it is not death either, and I like being led on this narrow territory between the two » Leblanc is the winner of awards such as the Villa Médicis Hors–Les–Murs scholarship in 2000, and the HSBC Fondation prize in photographie in 2003. In 2003, Peter Gabriel wrote in the preface of her first book Rithy, Chéa, Kim Sour et les autres "Laurence has continued to explore new areas in her work, and I have watched her develop into an extraordinary artist" Leblanc’s second book Seul l’air was published in 2009 by Actes Sud. At the same time her exhibition Seul l’air consisting of work from Africa was presented at the 40th International Photography Festival in Arles. Always expanding her range of learning and creating, Leblanc responded to radio producer and writer Frank Smith’s proposition to create a sound piece for the Atelier de Création Radiophonique. The final 53 minute sound piece was broadcast on France Culture in July 2008. Leblanc also collaborated on the « Sometimes I think Sometimes I don’t think » project with the Domaine de Chamarande. Bulles de silence, a 19 minutes film, written, produced and directed by Leblanc, was selected and premiered at the Museum’s Night in the Niepce’s Museum in May 2015. Laurence Leblanc silently follows her own solitary artistic path which leads her to the field of contemporary photographic creativity, yet her strongest ally is time, the time given (and taken by the artist) to observe and to mature. Represented by the Claude Samuel gallery in 1999 then by the VU’ gallery from 2001 to 2015 Leblanc is a regular at: Art Paris, Art genève, and at Paris Photo since her début there in 1998. Leblanc’s works can be found in collections ranging from the prestigious National Trust for Contemporary Art in France, the Niépce Museum in Chalon-sur Saône, the French National Library, the HSBC Fondation & Collection, as well as in various private collections includng that of Marin Karmitz. We can see one of her picture in the exhibition « Etranger résident » Marin Karmitz’s collection from 15 october 2017 to 21 january 2018 in la maison rouge – fondation Antoine de Galbert. Source: laurenceleblanc.com
Monika Macdonald
Monika Macdonald
Sweden
1969
Monika Macdonald was born in 1969 in Sweden. She moved to Stockholm where she studied photography after graduation. In 2001 she settled in London and worked as a freelancer, primarily making reportage for newspapers and magazines. She returned to Sweden in 2007 and ever since has focused on working on self initiated projects. In her thick photographs, plenty of souls and flesh, inhabited by strength and vulnerability, Monika Macdonald breathes an unusual eroticism into photography that provokes a vision of interiority rather than fantasy. They invite us to observe moments of abandonment as well as introspection where distant (and yet concrete) beings are grasped in their daily lives as desiring subjects rather than objects of desire. Here the intimate is suggested, and something of the neglected order of existence surfaces. Monika Macdonald shows what remains in the absence, the flesh of everyday life: meeting, abandonment, taste for solitude... The bewitchment of her images lets us penetrate beyond the visible and glimpse this intimacy that is usually killed. "I don't like the idea of taking pictures that much. But I always come back to it. There are no words to describe the feeling of being close to something. That's why I keep going. I oscillate between different worlds to which I try to link myself. My images are memories. To access a sense of loneliness and vulnerability. To be admitted beyond reason, far from what is called reality." Source: Galerie VU' In Absence is a series of images portraying women in their strive to find their own identity in a solitary life. Hulls is a photographic essay about my meeting with the man in a space, without limitation. An intimate room for losing self control. Book to be published beginning of 2020 by André Frère Éditions, France. Edited by Art Director Greger Ulf Nilson.
Sam Abell
Sam Abell
United States
1945
Sam Abell is an American photographer known for his frequent publication of photographs in National Geographic. His love of photography began due to the influence of his father who was a geography teacher who ran a photography club. In his book The Photographic Life, Abell mentions a photograph he made while on an outing with his father, a photograph that subsequently won a small prize in a photo contest. He credits that prize as being a major influence on the direction his life would take. Abell was the photographer and co-editor for his high school yearbook and newspaper. Abell graduated from the University of Kentucky in Lexington where he majored in English, minored in Journalism, and was the editor of the Kentuckian Yearbook. He is also a teacher, an artist and an author. He received an honorary Doctor of Letters degree from the University of Toledo in 2009. Sam Abell's book The Life of a Photograph is one of three volumes begun in 2000 with Seeing Gardens, followed in 2002 with The Photographic Life and Sam Abell Library in 2013.Source: Wikipedia Photography, alone of the arts, seems perfected to serve the desire humans have for a moment—this very moment—to stay. -- Sam Abell National Geographic photographer Sam Abell has defined his career with patience. There is no dull section of a Sam Abell photograph, the frame is layered from back to front with compelling imagery. This can be a slow process, it can take days, weeks, or in some cases months for the right opportunity to present itself. His photographs are considered to be amongst some of the best images to have appeared in the esteemed publication. Somehow, Sam agreed to sit down with us and have a chat about his life, work and photographic philosophy.Source: The Adventure Handbook Above all, it’s hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made. -- Sam Abell
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For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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