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Last Call to Win a Solo Exhibition this February. Juror: Harvey Stein
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Candy Lopesino
Candy Lopesino
Candy Lopesino

Candy Lopesino

Country: Spain
Birth: 1958

Spanish photographer and cinematographer born in Madrid 1958, Candy Campesino lives and works in Madrid. She is a member of the global community Women Street Photographers and a member of DOCMA Documentary Filmmakers Association.

"The first time I saw the black and white image appear in the developer tank, I knew that photographing was what I wanted to do for a lifetime. Photography helps me discover the world around me, to know better myself and to express myself. With which I manage to unite two of my passions, photography and traveling. My professional career begins as a graphic reporter under the signature of Hidalgo-Lopesino photographers collaborating with the Incafo publishing house and in collaboration with the UNESCO it realizes articles for the collection of books 'The Heritage of the Humanity' in Mexico, Bulgaria, Tunis, Portugal, Italy, Great Britain, Spain, France, Panama…

I have collaborated with others magazines: GEO Spain, GEO Japan, Viajes National Geographic, Traveler, Volta ao Mundo, Saveur Magazine New York, Rutas del Mundo, Península, Descubrir, Altaïr… There was a first photography exhibition that made a huge impact on me. They were the portraits that Edward Sheriff Curtis had made of the North American Indians and to which he had dedicated 30 years of his life. The portraits were impressive, and the time spent on the project blew me away. I left the showroom wanting to do a long-term personal project. This is how I start my personal project 'The Iberians' in which I have been working for the first two decades of the 21st century and in which I continue to photographing. "

The Iberian:
The Iberian Peninsula is a geographical concept formed by Spain and Portugal, two geographically united countries but separately by an invisible border.

THE IBERIANS is an essay about my travels through this territory visually narrating the things that happen while wandering around Iberia, how to write in a sketchbook.

The knowledge of a specific territory gives depth and meaning to my project, that is why my work is a continuous journey through Spain and Portugal. They are places where I explore the concepts of territory, border, light, memory and identity through the observation of the other.

In The Iberians I rediscover the common places, their people, their culture, their realities circumscribed to geography, in short, I explore the human condition.

Websites

lopesinocandy.myportfolio.com

@candylopesino

 

Inspiring Portfolios

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More Great Photographers To Discover

Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Mattia Vacca
Mattia Vacca
Italy
Mattia Vacca is an award-winning photojournalist focused on social issues and the aftermath of war. His first book, A Winter's Tale came out in 2014. His photographs have been featured on The New Republic, The Guardian, The Independent, ZEIT, L'Oeil de la Photographie, VICE, Corriere della Sera, La Repubblica, La Stampa and France Soir among the others. He is the recipient of numerous awards, including Sony World Photography Awards, Royal Photographic Society Awards, Renaissance Prize and NY Photo Awards.
Constantine Manos
Constantine Manos
United States
1934 | † 2025
Constantine "Costa" Manos (born 1934 in South Carolina) is a Greek-American photographer known for his images of Boston and Greece. His work has been published in Esquire, Life, and Look. He is a member of Magnum Photos. Manos first began taking photographs while in high school when he joined his school's camera club. Within a few years, he was working professionally as a photographer. At 19, Manos was hired as the official photographer for the Boston Symphony Orchestra at Tanglewood. His photographs of the orchestra culminated in 1961 with his first published work, Portrait of a Symphony. Manos graduated from the University of South Carolina in 1955, majoring in English Literature. He served in the military and then moved to New York City, working for various magazines. From 1961-64, Manos lived in Greece, photographing people and landscapes. This work resulted in A Greek Portfolio, published in 1972, which won awards at Arles and the Leipzig book fair. In 1963, Manos joined Magnum Photos and became a full member in 1965. After his time in Greece, Manos lived in Boston. In 1974, he was hired by the city to create the photographs for the Where's Boston? exhibition, a large production in honor of Boston's 200th anniversary. The photos from that exhibit were published in the book Bostonians: Photographs from Where's Boston? Manos also worked on projects for Time-Life Books. In 1995, American Color was published, containing Manos' recent photographs of American people. A Greek Portfolio was reissued in 1999, followed by a major exhibition of his work at the Benaki Museum of Athens. In 2003, Manos was awarded the Leica Medal of Excellence for his American Color photographs.Source: Wikipedia Constantine Manos was born in Columbia, South Carolina, U.S.A., of Greek immigrant parents. His photographic career began in the school camera club at the age of thirteen, and within several years he was a working professional. He graduated from the University of South Carolina with a B.A. in English Literature. At the age of nineteen he was hired as the official photographer of the Boston Symphony Orchestra at its summer festival at Tanglewood. Upon completion of his military service, he moved to New York, where he worked for Esquire, Life, and Look. His book, Portrait of a Symphony, a documentary of the Boston Symphony Orchestra, was published in 1961. From 1961 to 1963 he lived in Greece, where he made the photographs for his book A Greek Portfolio, first published in 1972. The book won awards at Arles and at the Leipzig Book Fair, and exhibitions of the work took place at the Bibliothèque Nationale de France in Paris and the Art Institute of Chicago. In 1963 Manos joined Magnum Photos. Returning from Greece, Manos settled in Boston and completed many assignments for Time-Life books, including their book on Athens. In 1974 he was the chief photographer for Where’s Boston?, a multimedia production that documented the city and provided the photographs for his book Bostonians. Manos’s photographs are in the permanent collections of the Museum of Modern Art, New York; the Museum of Fine Arts, Boston; the Art Institute of Chicago; the Bibliothèque Nationale de France, Paris; George Eastman House, Rochester, NY; the Museum of Fine Arts, Houston; and the Benaki Museum, Athens. In 2003 Manos was awarded the Leica Medal of Excellence for his pictures from American Color. Work from Manos’s ongoing work in color first appeared in his book American Color, published in 1995. The work continued in American Color 2, published in 2010. A new edition of A Greek Portfolio was published in 1999, accompanied by an exhibition at the Benaki Museum in Athens. In 2013 an exhibition commemorating the 50th anniversary of the making of the photographs for the book, including eighty unpublished pictures, was held at the Benaki.Source: constantinemanos.com As of 2014, he is currently working on a major retrospective book and exhibition that will include unpublished photographs dating from the start of his career.
Ivan Ferrer
Ivan Ferrer
Israel
1951
Ivan Ferrer took up photography thirteen years ago as a part-time hobby, but it quickly evolved into an all-encompassing way of life. Ivan’s primary wellspring of inspiration is deeply grounded in the global diversity of cultures, encompassing the people, the defining street scenes, as well as their customs, beliefs, and ceremonies. Eager and motivated to showcase what he could, Ivan has travelled to more than 50 countries, determined to share these unique cultures with his viewers. Throughout his photographic career, Ivan has earned numerous prestigious international awards, a testament to his dedication and talent.
Myriam Boulos
Myriam Boulos
Lebanon
1992
I was born in 1992 in Lebanon, right after the end of the war, in a fragmented country that had to reinvent itself. At the age of 16 I started to get closer to Beirut and used my camera to question the city, its people, and my place among them. I graduated with a master degree in photography from the Academie Libanaise des Beaux Arts in 2015. Today I use photography to explore, defy and resist society. It is my way of constantly reinventing myself in the body and the city I live in. Statement The revolution started in Lebanon on the 17th of October 2019. Since then everything has been emotionally and physically draining and confusing but also beautiful, sad and awakening. It all feels as if we were coming out of an abusive relationship and to finally say: No, this is not normal. When the revolution started in Lebanon, it was the most natural thing for me to take my camera and go to the streets. Photography has always been my way of participating to life as it is today my way of taking part in the revolution. In the ongoing socio-political context it felt to me like there was no choice: the subject of my photography imposed itself on me. It was more a question of need and necessity than a question of desire. The slow documentary that normally constitutes my approach was ever so naturally replaced by something else something new, and within the revolution I let myself carry by the big wave coming towards me, big wave much bigger than me. My project is about documenting the different facettes of the Lebanese revolution from a local point of view. My approach is characterized by the direct flash I use in this project but also in others. This potentially comes from my need to make things real. The direct flash also helps me work on textures, bodies and skins. In the context of the revolution, the proximity between the bodies says a lot about the situation. It is the first time that we claim our public spaces, our streets, our country. It is the first time that different social classes mix together in the streets. In our streets. In parallel to the photographic documentation, I am also documenting the evolution of my emotions during the revolution. It is sort of a diary that accompanies the pictures. Example: Monday, 20 Jan Beirut, Lebanon Tonight in the teargas I took all my pictures with eyes closed. They say the moment of a picture is a black out. I wonder if I don't look at these emotions, will they disappear?
Deb Achak
Deb Achak
United States
Raised in New Hampshire, Deb Achak holds a master's degree in social work and is a self-trained photographer and filmmaker. She lives in Seattle, WA with her husband and sons in a grand old home that was once a bed and breakfast. Deb's fine art photography explores natural elements of water and grasses - earth elements with clean, simple compositions meant to calm and soothe. Her children are also a growing subject of her fine art work. Her photographs have been exhibited at the Black Box Gallery, Portland, OR; Sante Fe Photographic Workshops, Sante Fe, NM; the SE Center for Photography, Greenville, SC: and Vermont Center for Photography, Brattleboro, VT. About She Told Us To Trust Our Intuition My mother's last words to my siblings and I before she died were "trust your gut instincts". It's struck me over the years how profound and revolutionary that one simple phrase is. It has become my mantra - my north star. When we still our mind, free it of conscious thought, intuition can be heard and felt, and becomes the perfect guide. Some years ago, I started to notice that when I am in a deep flow with my art, it becomes a meditation and I am able to hear my inner voice with complete clarity. In this series I use water, color, movement and the human form to express the meditative quality I feel when I am in synch with the flow of creating. I seek to capture that single moment where my camera, my intuition, and the natural world are perfectly aligned, and to give gratitude to my mother for bestowing such a powerful parting gift. All the Colors I Am Inside
Jennifer Thoreson (Hudson)
Jennifer Thoreson (Hudson)
United States
Jennifer B Thoreson (Hudson) is a fresh, young visual fine art photographer creating staged imagery that is both artistically stylized and meticulously crafted. Drawing inspirations from themes of faith, restitution and re-purpose, and the intricacy of personal relationships, Jennifer is a dynamic and emotional illustrator of the human heart. With an innate ability to plumb the antique, the work is soulful; seeking the use of the forgotten or discarded, eerie and quiet. Raised in a spiritual and conservative home in rural Texas, Jennifer grew up imaginative, curious, and experimental, and has used her upbringing in her intensely personal artwork to bring insight and awareness using heartfelt, acutely mapped personal experiences. Jennifer is currently working in Albuquerque. New Mexico. she is an MFA Degree Candidate at the University of New Mexico, and is studying within the studio art in Photography program. Alongside varied private portrait commissions, she is an international speaker and lecturer whose programs are sought after year after year by many professional public and private photographic organizations. She has just completed her latest major body of work entitled ‘Medic’, a collection of ten images exploring the breadth of human relationships during illness and recovery. Jennifer’s work has been a part of many group and solo exhibitions, and is represented by three major galleries across the country. Exclusive Interview with Jennifer B Thoreson (Hudson): All About Photo: Where did you study photography? Jennifer Thoreson:The University of New Mexico How long have you been a photographer?About 12 years. What or who inspires you?Thomas Demand, Ann Hamilton, Rachel Whiteread, Francesca Woodman, Deborah Turbeville, Sarah Moon, Gertrude Kassebier, Julia Margaret Cameron Do you have a favorite photograph or series?Deborah Turbeville's Past Imperfect What kind of gear do you use? Camera, lens, digital, film?I have a Nikon D3, and use the 24-70mm 2.8 for just about everything. What advice would you give a young photographer?First, commitment and conviction are paramount. If you combine conviction and energy, you've really got something. Second, be humble, engaged, passionate, and well spoken. An idea, a sentence, a project you would like to share?I'm working on a project now about re-birth and reconciliation. I'm creating large scale installations in each room of a house, and photographing them with human subjects. The house itself, and all of the furnishings are unwanted or discarded items I have collected. I'm repairing them, beautifying, and repurposing them for the photographs; sort of a baptism for each object. The finished work will be photographs; small records, or documents of the transformation. The compliment that touched you most?Someone once told me that one of my photographs helped her to cope and heal from a life crisis. It meant the world to me. If you were someone else who would it be?Imogen Heap.Your favorite photo book?'Francesca Woodman' See the Book
Anatole Bolkov
Anatole Bolkov
Russia
1970
Anatole Bolkov is a street and portreture photographer based in Moscow whose work explores the hidden poetry of ordinary people and everyday life. With a keen eye for the ambiguous and the ephemeral, he captures the quiet chaos of urban existence, revealing the unseen narratives woven into the fabric of public spaces. His photography blurs the line between reality and perception, transforming ordinary moments into enigmatic visual stories. Statement: My photographic work revolves around human presence—not always obvious, but often hinted at through shadows, fleeting reflections, and transient encounters. I'm fascinated by the ambiguous—the half-glimpsed, the vaguely familiar, the eerily uncanny. I strive to reimagine the ordinary by framing it through a shifted perspective. My images move between color and monochrome, analogue and digital - each choice dictated by the emotional resonance I want to evoke. This interplay between clarity and mystery lies at the heart of my visual language. Awarded Photographer of the Week - Week 25
Andrea Modica
Andrea Modica
United States
1960
Andrea Modica, born in 1960 in New York City, is an American photographer renowned for her intimate and evocative black-and-white portraits. Modica's fascination with photography began at an early age, inspired by her father's passion for the craft. She pursued her interest in photography at Yale University, where she studied under the mentorship of renowned photographers such as Walker Evans and Tod Papageorge. Modica's work often explores themes of memory, identity, and human connection, capturing the essence of her subjects with profound sensitivity and depth. She is particularly known for her portrait series, which often feature individuals from marginalized communities or overlooked subcultures. One of Modica's most acclaimed projects is "Treadwell," a series of portraits documenting the residents of a rural community in upstate New York. Taken over the course of several years, these intimate portraits offer a glimpse into the lives of the people living in this close-knit community, celebrating their resilience and humanity. In addition to her portrait work, Modica is also recognized for her hauntingly beautiful landscapes, which evoke a sense of timelessness and contemplation. Her images often feature desolate rural landscapes or abandoned buildings, imbued with a sense of mystery and nostalgia. Modica's photographs have been exhibited in galleries and museums around the world, including the Museum of Modern Art in New York City and the San Francisco Museum of Modern Art. She has received numerous awards and accolades for her work, including a Guggenheim Fellowship and a Fulbright Grant. In addition to her artistic endeavors, Modica is also a dedicated educator, sharing her passion for photography with students at various institutions, including the University of Oregon and Drexel University. She is known for her compassionate and nurturing approach to teaching, inspiring her students to explore their own creativity and develop their unique artistic voices. Modica's work continues to resonate with audiences, inviting viewers to contemplate the complexities of the human experience and the beauty of the world around us. Through her evocative imagery, she reminds us of the power of photography to transcend boundaries and forge connections between people from all walks of life.
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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