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LAST CALL: Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Hoang Long Ly
Hoang Long Ly
Hoang Long Ly

Hoang Long Ly

Country: Vietnam
Birth: 1965

Ly Hoang Long was born in 1965 in Dalat, a city located on the high plateaus of central Vietnam. Since childhood, the photographer has been fascinated by colours and images and began his professional career as a graphic designer. He discovered photography in 1993 through a friend, bought his first analogue reflex and two years later, made a dark room in his apartment. One thing led to another and he definitely abandoned design in order to devote his time to his images. With over twenty years experience to his name and 310 international prizes, including that of best travel photographer in 2014 (TFOTY). Several of his pictures also won awards in the same year at the CBRE Urban Photographer of the Year and from National Geographic.

Mud wrestling
Mud wrestling with a ball was a traditional game organized every four year in Van village, Bac Ninh province, the north of Vietnam.

Like basket ball, but instead of the baskets hanging up, here there were two holes (like a goal) and the playing ground was filled up with wet mud, there were 16 players divided into two teams, they competed vigorously to score by putting the heavy wooden ball in their competitors's hole.

The audiences supported all the teams, they were screamming and laughing because the game looked so amusing; it was not easy at all to seized a ball, keep it in arms and run on the slippery surface and cross a barrier of competitors.

After three day-competing, the both teams would gather in the courtyard of the temple to worship their ancestors, the game completely ended in peace and happiness.
 

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Daniel Berehulak
Daniel Berehulak is an award-winning independent photojournalist based in Mexico City, Mexico. A native of Sydney, Australia, Daniel has visited over 60 countries covering history-shaping events including the Iraq war, the trial of Saddam Hussein, child labour in India, Afghanistan elections and the return of Benazir Bhutto to Pakistan, and documented people coping with the aftermath of the Japan Tsunami and the Chernobyl disaster. His work has been recognized with two Pulitzer prizes. In 2015, for Feature Photography for his coverage of the Ebola epidemic in West Africa and in 2017 for Breaking News Photography for his coverage of the so-called war on drugs in the Philippines, both for The New York Times. In 2011, he was also a Pulitzer finalist for his coverage of the 2010 floods in Pakistan. These are some of several honors his photography has earned including six World Press Photo awards, two Photographer Of The Year awards from Pictures of the Year International and the prestigious John Faber, Olivier Rebbot and Feature Photography awards from the Overseas Press Club amongst others. Born into a Ukrainian refugee family, Daniel grew up on a farm outside of Sydney, Australia. Their Ukrainian practicality did not consider photography to be a viable trade to pursue, so at an early age Daniel worked on the farm and at his father's refrigeration company. After graduating from The University of NSW with a degree in History, his career as a photographer started humbly: shooting sports matches for a guy who ran his business from his garage. In 2002 he started freelancing with Getty Images in Sydney shooting mainly sport. From 2005 Daniel was based in London and from 2009 in New Delhi, as a staff news photographer with Getty Images til June of 2013. As of July 2013, Daniel embarked upon a freelance career to focus on a combination of long-term personal projects, breaking news and client assignments. He is a regular contributor to The New York Times.
William Eggleston
United States
1939
William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting." Eggleston was unusual among his peers in eschewing the traditional Southern male pursuits of hunting and sports, in favor of artistic pursuits and observation of the world. Nevertheless, Eggleston noted that he never felt like an outsider. "I never had the feeling that I didn't fit in," he told a reporter, "But probably I didn't." Eggleston attended Vanderbilt University for a year, Delta State College for a semester, and the University of Mississippi for about five years, but did not complete any degree. Nonetheless, his interest in photography took root when a friend at Vanderbilt gave Eggleston a Leica camera. He was introduced to abstract expressionism at Ole Miss by visiting painter Tom Young. Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston later recalled that the book was "the first serious book I found, from many awful books...I didn't understand it a bit, and then it sank in, and I realized, my God, this is a great one." First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966 after being introduced to the medium by William Christenberry. Color transparency film became his dominant medium in the later 1960s. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. In 1970, Eggleston's friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.'s Corcoran Gallery. Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it." Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
Vee Speers
Australia
or over two decades, Australian Paris-based artist Vee Speers has established herself in the art world with her unforgettable portraits. Her carefully choreographed images are painterly and ethereal, with a visual and metaphorical ambiguity which challenges established narratives. In her iconic series The Birthday Party, she eternalises the innocence of childhood with timeless portraits that are at once hauntingly beautiful and provocative. She dresses, styles and sometimes masks her characters, creating enigmatic stories to blur the line between reality and fiction and highlighting our need to escape into fantasy. Speers succeeds in choreographing characters that offer allegorical glimpses into life, triggering memories and emotions from our own childhood. From the legend of the Phoenix, Speers draws inspiration for her most recent work Phoenix, an evocative story about passion, love and loss and an homage to the anonymous women. In this series Phoenix, the battles are over and the flames and ashes disappear. Emerging is the emboldening force of liberation as these women of all ages are on the threshold of new beginnings. At once powerful and vulnerable, Speers' portraits are timeless symbols of transformation between life and loss and the renaissance of a new identity. Speers' work has been exhibited in museums, galleries, art fairs and festivals around the world, and published in features and on covers of more than 60 international magazines, with 3 sold-out monographs of her work. Her photographs have been acquired by Sir Elton John Collection, Michael Wilson Collection, Hoffman Collection U.S. , Carter Potash Collection, Morten Viskum Collection, Alan Siegel, Lawrence Schiller, DZ Bank, Museum of Fine Arts Houston, Museum 21C, Kentucky, George Eastman House, Beth Rudin Dewoody, Hudson Bay Company Art Fund, CB Collection, Tokyo. More about Vee Speers: AAP: When did you realize you wanted to be a photographer? Vee Speers: I’ve always thought photography was magical as my father had his own darkroom. When I went to art school, I realized that the instant way of capturing an image suited my impatient personality. Where did you study photography?QCA, Brisbane, Australia Do you have a mentor or role model?Not really. I don’t like to follow. What or who inspires you?The cinema is a constant source of inspiration. A story is told, and the way it is filmed can transport you to another time or place. Still images can be the same. How could you describe your style?Playful, beautiful, strange, melancholic, obvious and unexpected. Do you have a favorite photograph or series?The Birthday Party and Bulletproof This is two series photographed 6 years apart using the same children. What kind of gear do you use?Polaroid film and medium format cameras. Do you spend a lot of time editing your images? For what purpose?No, I know right away when I’ve taken a good shot. Or if I haven’t. What advice would you give a young photographer?Know what you want and don’t be distracted from your goal. Don’t listen to what anybody else says. What mistake should a young photographer avoid?Accepting to shoot anything that will compromise his or her personal journey. An idea, a sentence, a project you would like to share?Don’t be afraid.What are your projects?Portraits, portraits and more portraits. Your best memory as a photographer?There are so many. Every time I take a great image, I feel so excited, like everything has lined up perfectly. These are the best memories. The compliment that touched you most?A woman once told me that my work had changed her life. If you were someone else who would it be?Diane Arbus, with all those wonderful and strange people to photograph. Your favorite photo book?Lord of the Flies by William Golding.
Melissa Stewart
Australia
1963
Born in Melbourne, Australian Photographer Melissa Stewart currently resides between the Victorian country regions of the Macedon Ranges and the Mornington Peninsula. She has an affinity with the Australian landscape, nature and its wilderness. It is through her raw, true Australian aesthetic, she draws awareness towards the environment and the landscape we inhibit to protect it. Living in the country with horses has helped shape her awareness and interest in connecting and belonging. After graduating in 1980, she studied Art and Design and then Interior design in 2006 which has only enhanced her focus for detail, shape, line and form, this reflects in her Photography. Melissa returned to study Professional Photography in 2016 at Photography Studies College in Melbourne, studying part time, she has her final year to complete after deferment in 2019. She has been awarded finalist in Click 17, SE Centre for Contemporary Photography, Brunswick Street Gallery and exhibited in several group shows. A Finalist in the Australian Photography Awards awarded top 5, Student category and third place student category in the Australian Photography Awards exhibition, 2019. Statement Being in nature has always allayed my anxiety; it's my form of meditation. We can so easily forget about those simple needs and pleasure in life. Isolation has enabled me to reconnect, being at home creates a security a protection and comfort, and it brings me to a peaceful and happier state of mind. More so now it's imperative to connect with parts of yourself that you haven't before and reconnect with the things that you love. Given this time to slow down; I have been able to be inspired by books and music, long walks and observing the natural world in a different perspective. I have had wonderful moments where I have really be in awe and wonder with nature, the sea, the trees, and the silence. It is exactly in these moments that we can assess what matters, and what we want our life to mean. My interest in drawing awareness towards our environment and the landscape motivates my belief that it is essential to our quality and balance of life.
Francesco Ridolfi
Francesco Ridolfi is an Italian portrait photographer who usually shoots for advertising and editorial projects. Born and raised in Bologna, Italy, he now splits his time between Brussels, Milan and Bologna, working for different clients and assignments in the editorial and commercial field. Some of his most recent clients includes: Rolling Stone Magazine, Auchan, Louis Vuitton and Tetra Pak. All about Francesco Ridolfi: AAP: When did you realize you wanted to be a photographer? The photography passion came to me long ago, since I was a child. But maybe I started to realize it could be turned into a profession around the 2006. How long have you been a photographer?Professionally speaking, since 2008. What or who inspires you? Well, maybe it could sounds expected, but for me inspiration is everywhere! I think that the process of developing an idea it's like connecting dots. More dots you have (experiences, visual references, interests,..) more chance to come out with something original and great! How could you describe your style? I'm pretty sure it could be described as clean and precise. And actually it's what I'm looking for in my photos. I prefer to take away instead of add something: less is more for me. Do you have a favorite photograph or series? Speaking of my work, for the efforts done, I surely like the Chess Portraits here presented. But from my previous works, I'm attached to a John Landis' portrait I took a couple of years ago and a series of black and white portraits I took in Cuba Cublanco Do you spend a lot of time editing your images? For what purpose? Actually not so much, I prefer to do as much as possible on camera. The editing process consists mainly in color correction and general cleaning of the photos. Favorite(s) photographer(s)? Erwin Olaf, Martin Schoeller, Richard Avedon. What advice would you give a young photographer? If I had to suggest something to a young or an aspirant photographer, for sure I will advice him of the importance of the profession's business side. It's something you have to take really seriously, if you want to survive out there.What mistake should a young photographer avoid?Think that to be a photographer (and making a living with it) it's enough just take good pictures. An idea, a sentence, a project you would like to share? Less is more. But also, try to convey an idea through your photos. An idea adds much more than technique and Photoshop. About "Room 322""The airy luminosity of an ethereal space, aseptic and suspended, contrasts with the stolidity of these bodies - less than perfect in their awkward and authentic humanness. Statically present, the hotel room preserves its non-connection to sundry turn-taking occupants: its stillness heightens the tension they feel inside, which rips itself free of these contentless surroundings. Thus, from the bottom of a bathtub, contrasting perceptions emerge: appearance and reality, restlessness holding itself still, past within present; authenticity within fiction."
Tom Zimberoff
United States
1951
A classically-trained clarinetist, Zimberoff studied music at the University of Southern California before pivoting to photography. As a photojournalist, he has covered hundreds of historical and breaking news stories published worldwide, from the renegotiation of the Panama Canal Treaties; to NATO war games, a trip to Beijing with Secretary of State Alexander Haig opening trade talks with China; the eruption of Mount St. Helens; Super Bowl XIV; to documenting East LA gangs. One plum assignment from Esquire had him photographing "The Most Eligible Women in America." He's shot many hundreds of portraits, including magazine covers from John Lennon to Steve Jobs plus two sitting American presidents (Carter and Reagan) for the covers of Time Magazine and Fortune, as well as advertising campaigns for Fortune 500 companies, Hollywood movie studios, and the US Navy. Zimberoff was nineteen when he shot his first photo assignment for Time magazine: the farewell public recital of violin virtuoso Jascha Heifetz - a personal hero. By the time he turned twenty-one, Zimberoff had toured with the Jackson-5, the Rolling Stones, and Stevie Wonder, spent a day photographing John Lennon, and shot the first cover of People magazine. (It was the 1973 proof-of-concept issue featuring Olympic swimmer Mark Spitz.) Zimberoff has fun describing his pursuit as a predatory sport: hunting big game. "We don't 'load' cameras much anymore," he says, "but we still 'aim' them and 'shoot' pictures." He doesn't stalk his prey but gets close enough for a good clean shot (close enough for rapport as much as proximity), to avoid inflicting gratuitous wounds. He bags his quarry with a lens instead of looking down the barrel of a gun but, he also says, "I hang their heads on a wall to admire like trophies." His hunting license was a press pass. His portraits can be found in private collections and museums, including the National Portrait Gallery in London; the Los Angeles County Museum of Art; and the San Francisco Museum of Performance and Design. Recently, his entire career archive - literally a ton of film - was acquired by the Briscoe Center for American History at the University of Texas at Austin. His first two formal portraits were Marx and Lennon - Groucho and John. Tom's expertise with the business side of photography is evidenced by the articles he's had published in leading industry journals. He is also the author of Photography: Focus on Profit (Allworth Press, 2002), which has been used as a textbook at colleges throughout the country. He also taught briefly at several San Francisco Bay Area colleges. He taught himself to write code and developed PhotoByte®, the pioneering business-management software for commercial photographers. It has been used to teach at colleges across the country. After a ten-year hiatus from shooting pictures to pursue his software business and writing, Tom picked up his cameras once again to illustrate another book, Art of the Chopper (Bulfinch Press, 2003), his tribute to a decades-long affinity for custom motorcycles. It became a best-seller, followed by a second volume (Hachette, 2006), with forewords by Sonny Barger of the Hells Angels and James Hetfield of the band Metallica, respectively. As an encore to the Art of the Chopper books, Zimberoff was invited to curate an exhibition at the William J. Clinton Presidential Library in 2008, where thirty of the actual motorcycles illustrated in print were displayed on pedestals as works of sculpture. They were juxtaposed with Zimberoff's photographs large-format black-and-white portraits plus documentary (candid) photos of the moteuriers who built each chopper. The "Art of the Chopper" exhibition traveled to the Appleton Art Museum in Ocala, Florida and to Union Station in Kansas City, Missouri. Tom's most recent venture is a startup dedicated to creating the first data-driven marketplace for commercial and editorial photography. Zimberoff was born in Los Angeles in 1951 to a family with three grown siblings already a generation older - "like growing up with five parents," he says. His mother owned a boutique in Las Vegas, during the 50s and 60s; and his father was a musician who played the Vegas hotel orchestras that backed up Sinatra, Nat King Cole, and Bobby Darrin et al. Young "Tommy" grew up in Las Vegas, returning to California, on and off, to live with his older sister and two years in military school), finally leaving Las Vegas for his senior year at Beverly Hills High School when his parents retired. Then he received his music scholarship to USC. Zimberoff now lives in San Francisco, where he says he is ready to throw his lens cap back in the ring, as soon as the Covid-19 pandemic ends. In the meantime he is writing a memoir, an anthology of stories about his career. The title is A Photographic Memory. Each chapter juxtaposes one portrait with equally compelling prose about the events surrounding its creation. Articles Haut Moteur Principles of Portraiture on Camera AAP Magazine Portrait #40 B&W #41 Portrait #48
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