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Send your best project to Ed Kashi ans WIN A Solo Exhibition this December!
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Vassi Koutsaftis
Vassi Koutsaftis
Vassi Koutsaftis

Vassi Koutsaftis

Country: Greece
Birth: 1952

Vassi Koutsaftis has explored the globe for over 30 years, specializing in travel photography – of the extreme kind, especially in the mountainous regions of Himalayan, the Karakoram, Hindu Kush and other very remote areas of Asia. Born in 1952 in Athens, Greece and crossed the world’s oceans working on cruise ships and freighters. That was just the beginning for he continued to examine our planet traveling to remote areas on his own, then from the air, when he went on to study aeronautics and became a pilot in the U.S. He leads treks and exploratory tours in Afghanistan, Mongolia, Tibet, Nepal, Pakistan, Iran, Bhutan, Burma, Turkey and India, and he contributes essential research to unusual and remote itineraries for Geographic Expeditions one of the best and most respected expedition companies in the US. Vassi’s photographs have been published in a number of magazines including Geo (European edition), Photografos, USA Today, Asia Week, National Geographic Traveler, and Marin Magazine. He serves as Conde Nast’s Tibet expert and is well known for his compelling images of the Dalai Lama. His photographic and travel expertise has been instrumental in scouting for films including productions by CBS, PDI and Dreamworks and a number of independent filmmakers. Vassi’s work is included in the collections of U.C. Berkeley’s Blum Center, Steve Wynn Casinos, Stanford University’s Center for Buddhist Studies. Vassi has exhibited his work widely in a number of galleries in the United States and Overseas including The Hellenic American Union in Athens, Greece and enjoys giving presentations of his photographs while sharing stories of extensive travels around the world.
 

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More Great Photographers To Discover

Josephine Cardin
Dominican Republic
Born in Santo Domingo, Dominican Republic, Josephine Cardin is a fine arts photographer who grew up in South Florida, until moving to Boston, MA in 2006.Presently, Cardin has been developing her figurative work, inspired by music, dance, and the human themes of loneliness, isolation, melancholy, love and loss. Cardin uses both dancers, and self-portraiture to illustrate scenes that bewitch, seduce, and explore our human sensibilities; through abstract stories with a visual dialogue between the subject and the artist created through a symbiosis of harmonic gestures and magnetic artistry.Cardin's work has been published in The Spoiler�s Hand, Lucy�s, Canto, beau BU, Scope, F-Stop, and Dance Magazines; Playbill, and the book Meet The Dancers. She has exhibited with The Professional Woman Photographers, The Boca Raton Museum of Art Juried Exhibition, and with The Woman in The Visual Arts. Most recently Cardin received and honorable mention for the 2014 Julia Margaret Cameron Awards, and was selected as a finalist for the PhotoNola/International House Mary Magdalene Exhibit in New Orleans. She has done work for the Boston Ballet, Rochester City Ballet, Arts Ballet Theater, and The Broward Center for the Performing Arts; as well as work for corporate clients. Additionally she earned an artistic grant from the state of Florida, prior to her move to Boston.Always an artist in some capacity, Cardin started out as a ballet dancer, then earning her B.A. in Art History from Florida Atlantic University, followed by an M.A. in Communications from Lynn University. She went on to hold several professional jobs in the arts, while continuing to produce personal and professional photography projects as a freelancer. In 2010 Cardin focused on pursuing her fine arts career full-time. She lives and works in Rochester, NY, with her husband and two young children.
Beth Galton
United States
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world. Her work has been recognized by organizations including Graphis, Communication Arts, the Tokyo International Foto Awards, Julia Margaret Cameron Award, IPA Awards, AAP, and the PDN Taste Awards. The Cut Food series was exhibited in Montpellier Contemporain, Aperture, and Beth Urdang Gallery. It was part of ‘The Fence’, a 7-city, traveling outdoor exhibition, it was published in the Washington Post, and covered by NPR. Both Lenscratch and Rfotofolio picked up the Memory of Absence series. Additionally, A Vita Plantae, and Memory of Absence have been exhibited at Wave Hill, Soho Photographic Gallery, The Center for Fine Art Photography (CO), The Center for Photographic Art (CA), The Florida Museum of Photographic Arts, Griffin Museum of Photography, Praxis Gallery, and SE Center for Photography. The Washington Post recently published Beth’s work from her series Covid Diary, a document of her time in confinement. About Cut Food "What started as a ubiquitous burrito shot, turned into an exploration of iconic food through a fresh perspective. We chose subjects which we felt were symbols within our Western food culture, and sought to move past the normal “appetite appeal” to look deeply and with curiosity into them. My intention was to give the ordinary a sense of magic show quality. Real, but also astonishing." About A Vita Plantae "This collection explores the relationship between art and science in a three-part series of organic images: Roots, Potato Love, and Time Preserved. These images seek to reveal some of the long-hidden truths of plants: their movement and grace, the nature of time, and the almost unbearable fragility of life. " About Memory of Absence "In 2017, my mother and father—who had not lived together for 50 years, died within 3 days of each other. In this series, I sought to convey a sense of memory and loss through the composition of found ephemera and botanical matter. The volatile botanicals represent the ever-changing nature of memory —an unstable and profoundly unreliable process."
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
Meg McKenzie Ryan
United States
Los Angeles resident Meg McKenzie Ryan married young, before graduating from college. Her husband's job involved flying to Hong Kong, so one day Meg surprised him by flying there. Asking friends what she should shop for there, buying a camera was the unanimous suggestion. So that's what happened. She didn't know how to use it, so she enrolled in a not-for-credit class at the University of California, Los Angeles. Jerry McMillan was her instructor there and later at California State University, Northridge where she earned her Bachelor in photography. In the early 70s, McMillan was active in the Los Angeles art scene, and he was particularly interested (it seemed) in helping photography to be recognized as an art form. Non-traditional subjects and alternative presentations were encouraged. I was game. Then, Meg remarried and moved to Burkina Faso, a country in West Africa, and then to neighboring Lome, Togo where her daughter was born. The culture there was incredibly different than her Los Angeles home. Religion, work and working conditions, poverty, homes, clothing, food, etc. were all new. It was a lot to digest, and more than she was prepared to face with her camera. Next, the young family moved to Bloomington, Indiana where Meg was able to study for a Masters degree in photography. Jeff Wolin was her primary instructor, and he was shooting an 8" x 10" field camera, so Meg decided to acquire one. Mostly she shot landscapes at the time. Wolin, on the other hand, was shooting beautiful shots of the rock quarries around Bloomington, and later did a project on Holocaust survivors and later still on homelessness. Moving again to the lower desert of California (city of El Centro), Meg landed a full-time photography job at the local daily newspaper. It was excellent experience for the young and somewhat shy photographer because she learned to shoot pictures of people. And this was the start of her project featured here, The lives of others. Her home was just ten miles north of the Mexicali, Mexico border town and capital of the state of Baja California, Mexico. It was easy (at the time) to cross the border, find the poorer neighborhoods, and ask to shoot their pictures. It's no accident that her photography became more documentary-like at its heart. The newspaper work and living in such a foreign place as West Africa pulled her in that direction. And at some point she realized that photos of people interested her the most. The work was wonderful, rewarding, and rich with experience and learning. Meg hopes you'll take time to look at the photos here.
Younes Mohammad
Younes Mohammad is Born in 1968 in Dohuk, Iraq. He's a Kurdish freelance photographer mostly active on assignments for newspapers, magazines, etc. He spent his life in Iran as a refugee from 1974 - 1998 and graduated with an MBA University of Tehran. Photography was his passion but he had no chance to follow it while the war situation was still continuing Under Saddam's time. In 2011 he quits his job and starts his journey as a photographer. His work has been exhibited internationally and published widely in publications. He has received numerous awards. He is now based in Erbil, Iraq. About Open Wounds "I start to work on a long-term project documenting the sacrifices of Kurdish Peshmerga in the fight to put down ISIS. Speaking with hundred Peshmerga, taking intimate portraits of the wounded fighters, their families, and documenting both the stories in the battle and their ongoing struggles to navigate post-conflict life. Through the work, I found stories of immense suffering. Fighters who took up arms, not because they were required to do so, but because it was right and it was what had to be done. These men, often fighting side by side with brothers, uncles, cousins, fathers, and sons, knew that the freedom and survival of their people were at stake. As they retold stories of watching family and friends killed in front of them and of battles they did not expect to survive, they simultaneously shed tears for the losses and for the pride they had in what their comrades and they had done. Almost all of the men showed severe physical injury. Arms, legs, and eyes lost. Bodies so riddled with bullet and shrapnel wounds that simple movement created wincing pain. These men also showed the signs of the heavy burdens of the mental traumas, of PTSD, and of memories that would not leave them. Despite all they suffered, they often said they would go back to the fight again if ever called. They would do this for their children, their families, their people, and for the wider world. Tragically, their suffering does not end having returned home. The men face new challenges, such as getting prosthetic limbs, ongoing care, providing for their families despite their debilitating injuries, and more. They wonder, if they would give everything to help protect the world, will the world help them or forget them now that they have put down their guns. I have hope that, through this work exploring conflict and post-conflict humanitarian issues, the World may better understand what these men and their families have given for the Kurdish people, the region, and, in fact, the world. " -- Younes Mohammad
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