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Thomas James Parrish
Thomas James Parrish
Thomas James Parrish

Thomas James Parrish

Country: Australia
Birth: 1993

Based in Sydney, Thomas is an Australian photojournalist and travel photographer driven by a passion for exposing and championing environmental and humanitarian issues that exist in today’s societies, all over the world.

Thomas’ work explores current social issues; combining his passion for creative storytelling with a desire to inspire positive social change. Working closely with local NGOs, charities and communities, this work has taken him across the world where he has founded projects and campaigns with refugees, religious groups, environmental agencies and education programs.

His photographic journey began in 2016 when he spent 6 months documenting the north of India as part of his project ‘Oh India’ which, after first being released as an exhibition in Sydney, has since become a photobook and has raised over $10,000 for a remote education program in West Bengal. In 2017 Thomas travelled across Italy documenting the refugee crisis, working closely with volunteer groups and NGOs to tell the stories of those seeking asylum for his ongoing project ‘A Voice for a Refugee’.

After spending a year studying at the Speos International Photographic Institute in London in 2018/19 and obtaining his diploma in professional photography, Parrish then went on to document the Camino del Norte, an 850km pilgrimage across Spain, as a way of raising money through sponsorship and prints sales for Amazon Watch as part of his project ‘Camino for the Amazon’ which aided in the recovery program for indigenous communities most affected by the fires in the Amazon in 2019, raising over $4,000.

Thomas has since returned home to Australia where he recently released his latest body of work ‘A Place Called Manly, A Place Called Home’, which celebrates the everyday beauty of his hometown in Sydney Australia and was exhibited in Paddington, Sydney.

Thomas’s work has featured in multiple international photographic publications such as Suitcase Magazine, Lodestars Anthology, Australian Photography Magazine, Dodho Mag, Stade and Ernest Journal and more.



Statement
“With my work I try to emphasise our responsibility as humans to care for the world, and to express the importance of identity, through engaging storytelling. I hope I ensure a positive impact for humanity and the natural world and that my photographs can act as an instrument for inspiration and change.”
 

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Stefano Galli
Italy
1981
Stefano Galli is an Italian photographer born in 1981. After graduating at the University of Turin, with a BA in cinema, he moved to Copenhagen, Denmark, where he worked with director Lars Von Trier. During these years he attended Fatamorgana, The Danish School of Art & Documentary Photography. Fascinated with traveling and the discovery of new environments, Galli is currently working on a new series that belong to a trilogy started with 'Cars' and followed by '80 Skies'. He recently terminated a non-narrative documentary-film, based on the stories of random people met along a journey through the USA. Galli exclusively works on a traditional analog way, both in his motion and still project. Currently based in Los Angeles. About '80 skies'Gazes at the sky. The beauty and power of pure light entering the camera. A project that recalls Claude Monet’s study of the influence of light on objects. Stefano Galli brings his own light studies to the extreme, focusing on the sky and its myriad variations. In “80 SKIES”, the protagonists of Galli’s frames are airplanes or - better said - the small shapes that fly over our heads daily. Because of their height in the sky and the sunlight by which they are surrounded, the shapes Galli captures become something entirely different than just giant devices that move hundreds of human beings. In many cases, the planes are insignificant elements when compared to the magnificence of the heavens. In fact, the eye of the viewer becomes lost in the contemplation of the colors, in the totality of the photographs; looking at these images, the impression of hearing the deafening noise or the usual imagery of the airplane is not perceived. Fascinated by movement and travel, Stefano Galli dedicates this project to the aircraft for the purpose of studying the sky. The result is a creative pictorial but also a tiring study that begins in the early hours of dawn and ends with the fall of the sun. Pushing 35mm negatives to the extreme through a 90mm lens, he lets the film be flooded by the infinite heavenly hue, the changing colors of the horizon sometimes grayish, or yellow and pink, the broad spectrum of colors that characterize the sky. The intensity of the light seems to struggle with the film speed, so the photographs are characterized by a thick grain that gives the picture a three-dimensional effect, as if it had been given a brushstroke.A photographic project that shows the endless variations of the light system in which we live. About 'Cars': Stefano Galli’s work documents his journey of crossing deserts, through forgotten villages, on remote and empty roads. In ‘Cars’ , geography is just as important as photography even if in his shots - distinctive sharp cuts - he leads away from the dusty streets and daily life. Galli conducts the imagination to an elsewhere where lines play with material and shape, where the tail lights and fenders are transformed into surreal and alien beings. Yet ‘Cars’ goes far beyond a mere figurative research, the work is conducted with rigor and awareness, typical of a geographer or an archivist. In fact, Stefano meticulously notates the physical location of the intersection shown in each photograph. Therefore, the project goes beyond the cult of the American car. Through this adventure, Galli tracks and defines - snap after snap - a cognitive path of the new continent. So there is an aspect that links these works to a deep investigation of American society and to aspects of decay and yet, mixed with a splendor that still dazzles. The essence of his idea lies not only in the aesthetics of the work, but also in his decision to show the layers of dust on the cars, the broken headlights and swollen wheels. In this series, a fascination with America remains. A fascination with all its vastness and complexity, which attracts and disturbs at the same time. Discover Stefano Galli's Interview
Pierre De Vallombreuse
Pierre de Vallombreuse was born in Bayonne in 1962. In twenty-five years of travel to all continents, he made a photographic collection of 41 indigenous peoples, with more than 130,000 photographs, paying tribute to their diversity.In contact with Joseph Kessel, a French author and traveler, de Vallombreuse felt a very early desire to be a witness of his time. In 1984, he entered the École Nationale Supérieure des Arts Décoratifs in Paris with the idea of becoming a cartoonist. A trip to Borneo the next year, though, changed the course of his life. He shared his daily life with the Punans, the last nomads of the jungle. Normally a sedentary artist, de Vallombreuse decided to become a nomadic witness, and photography became his mode of expression. While still a student at the Arts Décoratifs in Paris, he took multiple trips to the Philippine jungle to stay with the Palawan people. In total, he lived with them for over two years. The first part of his work on this tribe was presented at the photographic festival Les Rencontres internationales de la photographie in Arles.De Vallombreuse was Secretary General of the Association of Anthropology and Photography (association Anthropologie et Photographie, Paris Diderot University). Since then, he has regularly collaborated with leading international magazines: GEO (France, Russia, Germany, Spain, South Korea, Japan), Sciences et Avenir, Le Monde 2, Le Figaro Magazine, Newsweek, El Mundo, El País, and La Stampa.About The Origins of Man (Hommes Racines)Encompassing five years of work, this project represents the commitment of a photographer with eleven indigenous peoples spread across the globe. Its main purpose is to show the intimate relationship between man and his environment. De Vallombreuse presented his work as a testament to the diversity of lifestyles, practices, and traditional knowledge that are embedded in very different environments. These cultures are repositories of knowledge essential to the preservation of biodiversity. De Vallombreuse aimed to promote a reflection on humanity sustainable whose corollary is the protection of nature.Whenever linked to a specific people, the project emphasizes the multiplicity of responses to living conditions imposed by nature and history. It is in this context that de Vallombreuse addresses this root concept. By meeting people entrenched in their territory and those who have been subjected to the test of uprooting, de Vallombreuse analyzed changes in life affecting our modernity. He worked to show how indigenous peoples are often the first victims of environmental disasters: food shortages, deforestation, global warming, pollution, and water war, crucial questions that, far from being local concerns, affect our mutual humanity.Since 2007, this project has resulted in 12 exhibitions and numerous publications.Souce WikipediaAbout SouverainesIn the West, feminists fight for equality with men. But elsewhere? In some traditional societies, women have a predominant social and spiritual part to play. There is equality, mutual respect and freedom for both genders. Amongst these people, women are recognized for their uniqueness and their skills.Pierre de Vallombreuse traveled to four South East Asian cultures where women play a crucial part in the family and in governance itself.In the matrilineal and matrilocal tribe of Khasi in the North-East part of India, children are given at birth the name of their mother and the youngest daughter inherits all the land and family properties.In the nonhierarchical tribe Palawan in the Philippines, men and women live in perfect equality, while emphasizing values such as goodwill, generosity and mutual assistance.In the southwestern part of China, status of women is unique in Moso, a population that practices all forms of matriarchy as children's education is entrusted with their maternal uncles.Finally in Malaysia, the Badjao abolish all forms of hierarchy and advocate for an egalitarian and libertarian civilization that is prominently in favor of women.
Sam Heydt
United States
1986
Sam Heydt (born April 20, 1986) is an American social practice and recycled media artist born/raised in New York City. She has lived/worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Reykjavík, Udaipur and Vienna [current]. As a published author, producer and lifelong social activist and environmentalist, Heydt has undertaken a range of altruistic, non­-profit work and anchors her practice in advocacy. Through her unique manner of expression, she illustrates a world exploited beyond use and increasingly reduced to a bottom line. Esteemed as one of the pioneers of the recycled media movement, she works across different media- film, video, installation, photography, sculpture, sound and text and employs a range of materials, often reinventing and trespassing their associative use. Marrying images of destruction with portrayals of the American Dream, her work confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. Heydt's work has been shown in galleries, museums, art fairs and film festivals worldwide. Statement The edge is closer than we think, but illusion won't free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the natural world is liquidated and substituted with an artificial one, public discourse is being defined by even narrower bandwidths Our time is marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The skeletons of old factories serve as caveats for a world exploited beyond use, a world increasingly reduced to a bottom line. Dissidence is drowned out by the white noise of the media, which holds the social psyche captive in with the empty promises it proposes for the future it truncates. Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Conflating time and place, her layered imagery collides, merges and disrupts logical relationships between occurrences. Through adding and subtracting meaning by combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.
Thomas James Parrish
Based in Sydney, Thomas is an Australian photojournalist and travel photographer driven by a passion for exposing and championing environmental and humanitarian issues that exist in today’s societies, all over the world. Thomas’ work explores current social issues; combining his passion for creative storytelling with a desire to inspire positive social change. Working closely with local NGOs, charities and communities, this work has taken him across the world where he has founded projects and campaigns with refugees, religious groups, environmental agencies and education programs. His photographic journey began in 2016 when he spent 6 months documenting the north of India as part of his project ‘Oh India’ which, after first being released as an exhibition in Sydney, has since become a photobook and has raised over $10,000 for a remote education program in West Bengal. In 2017 Thomas travelled across Italy documenting the refugee crisis, working closely with volunteer groups and NGOs to tell the stories of those seeking asylum for his ongoing project ‘A Voice for a Refugee’. After spending a year studying at the Speos International Photographic Institute in London in 2018/19 and obtaining his diploma in professional photography, Parrish then went on to document the Camino del Norte, an 850km pilgrimage across Spain, as a way of raising money through sponsorship and prints sales for Amazon Watch as part of his project ‘Camino for the Amazon’ which aided in the recovery program for indigenous communities most affected by the fires in the Amazon in 2019, raising over $4,000. Thomas has since returned home to Australia where he recently released his latest body of work ‘A Place Called Manly, A Place Called Home’, which celebrates the everyday beauty of his hometown in Sydney Australia and was exhibited in Paddington, Sydney. Thomas’s work has featured in multiple international photographic publications such as Suitcase Magazine, Lodestars Anthology, Australian Photography Magazine, Dodho Mag, Stade and Ernest Journal and more. Statement “With my work I try to emphasise our responsibility as humans to care for the world, and to express the importance of identity, through engaging storytelling. I hope I ensure a positive impact for humanity and the natural world and that my photographs can act as an instrument for inspiration and change.”
Dotan Saguy
Israel
1970
Dotan Saguy was born in a small kibbutz five miles south of Israel's Lebanese border. He grew up in a diverse working-class Parisian suburb, lived in Lower Manhattan during 9/11, and moved to Los Angeles in 2003. In 2015, Saguy decided to focus on his lifelong passion for photography after a successful career as a high-tech entrepreneur. Since then Saguy attended the prestigious Eddie Adams Workshop, Missouri Photo Workshop and studied photojournalism at Santa Monica College. Saguy's award-winning photographs have been published by National Geographic, The Guardian, The Los Angeles Times, among many other publications. Saguy teaches street photography and documentary workshops for Leica Akademie and Momenta Workshops. In 2018 Saguy's first monograph about the endangered culture of Venice Beach, CA was published by Kehrer Verlag and received a Bronze award by the prestigious Deutscher Fotobuchpreis 2018-19. Saguy lives in Los Angeles with his wife and two children. Statement I met the Reis, a Mormon family from Brazil, the day they arrived in Los Angeles in October 2018 in the yellow school bus they call home. They had come to the United States two years prior to chase the American Dream and although they had quickly found financial success, happiness proved much more elusive with long work hours and material acquisitions leaving them unsatisfied. This body of work documents the trials and tribulations of the Reis family over their 10-month stay in the City of Angels while they struggle as vehicle dwellers, improvised mechanics, unconventional parents, experimenting breadwinners while seeking happiness as a family. The interviews conducted as part of the project also raise subjects such as immigrants chasing the American dream, modern parenting, the growing urban phenomenon of people living in vehicles and rebelling against a strong religious identity in the Internet era. Articles About Nowhere to go but Everywhere Dogtown
David Stewart
United Kingdom
1958
David Stewart began his career by photographing punk bands including The Clash and The Ramones. He also took to photographing the passing parade of colourful characters on Morecambe Promenade with squirrel monkey's Joey and Queenie. After graduating at Blackpool and The Fylde College, Stewart moved to London in 1981 where he persued a career in photography, rapidly establishing himself as one of the UK's most highly accomplished photographers. In 1995 he directed and produced a short film "Cabbage" which was nominated for a BAFTA. Accompanying the film is a series of surrealist photographic images in tribute to the much-maligned vegetable. In 2001 he published a body of work titled Fogeys comprising of kitsch, cartoon-like photographs of people growing old disgracefully. Exhibited at the Institute of Contemporary Art London "Fogeys" won a Silver Award at the Art Directors Club of New York. The book "Thrice Removed" was published in 2009. While still singular and mischievous, the book includes works that are more muted in colour and personal in tone. The projects "Indecision" and "Intension" return once again to the surreal providing an intriguing study of young women. "Teenage Pre-occupation" which takes a look at teenagers and the changes they go through and was published in May 2013. The short film "Stray" 2013 was screened at the London Short Film festival. Stewart won The Taylor Wessing portrait prize in 2015. He had been previously shortlisted for the Photographic Portrait Prize in 2007 and accepted a further fourteen times between 1995 and 2012 each time exhibited at the National Portrait Gallery, London. In 2016 Stewart was presented with The Royal Photographic Society award for outstanding achievement and excellence in the fields of Editorial, Advertising and Fashion Photography. 2018 saw the publication of "Paid Content" which uses the setting of the advertising agency to explore the changing face of workplace culture and the wider dehumanising effect that is occurring due to the growth of large, faceless corporations and globalisation. 2020 saw the publication of "Geoffrey Valentine" which presents unflinching portraits of his dead father lying in a coffin in a chapel of rest. Geoffrey Valentine at Wren London
Javier Arcenillas
Javier Arcenillas is a Spanish freelance photographer, with a degree in Evolutionary Psychology from the Complutense University of Madrid. He is Professor of documentary photography at the PICA School of PHE and editor of photographic projects. Arcenillas develops humanitarian essays where the protagonists are integrated in societies that limit and aggregate all reason and right. He has won several international prizes, including The Arts Press Award, Kodak Young Photographer, European Social Fund Grant, Euro Press of Fujifilm, FotoPress, UNICEF, Sony World Photography of the Year, POYI, POYILatam, Fotoevidence, Gomma Grant, W. Eugene Smith Grant 2013, Getty Images Grant, PDN 2018, World Press Photo 2018, Lucas Dolega 2019. In 2013, Javier Arcenillas entered the dictionary of Spanish photographers. It has 4 books published, City Hope on the satellite cities that populate the landfills of Latin America, Welcome that tells the story of the Rohingya refugees of Myanmar in the Kutupalong camp, Sicarios on the hitmen in Central America and UFO Presences in 2018, the fun project about the spaces of UFO sightings and the way of transformation that localities, roads and cities turned into a legend. Aliens, Area 51, Death Valley or Roswell. The project that conceptualizes in images, maps and graphics the UFO phenomenon offers us places where these strange appearances have entered a unique subculture in the environment, endowing it with a singular energy. In the year 2016 La Fabrica publishes a Photobolsillo within the Photographers Spanish collection. His most complete news articles outside Spain can be read in Time, CNN, IL Magazine, Leica Magazine, Der Spiegel, Stern, Esquire, GEO, El Mundo, PAPEL, VICE News, TRIP, Matador, Man on the Moon, L´Expresso, Zazpika, Primera Linea, El País Semanal, Planeta Futuro, Libero, Gatopardo, El Confidencial, El periódico de Guatemala, Sputnik News as most important magazines. His work is distributed by the Agency LUZ. CITY HOPE Since the mid-nineties settlements bordering on rubbish dumps in the major capitals of Central America and Caribean have experienced a radical transformation. Now a days there are numerous families living in the recycling of waste in these macrociudades of disposable plastic or glass, their economic survival depends on it. Neighborhoods such as La Esperanza in Guatemala, La Duquesa on the Dominican Republic or in Managua Acahualinca fairly communities adapted to the collection of waste in landfills. This essay shows how and where they live hundreds of people in Latin America whose work is not the collection of organic waste. LATIDOAMERICA Latidoamerica is a Photojournalistic Research project that describes and analyzes violence in Central America, one of the most dangerous places in the world documenting the direct consequences of violence Sumida in revolutions, dictatorships, genocides, wars or political lack of control inheriting in each country, these Societies use the fear learned in their worst years to coexist daily with death and criminality in each city. This inheritance that left so much death has transformed the way of thinking and acting in the area. Today, a large part of its citizens live in fear and insecurity of certain death by firearm, rape, aggression, extortion, kidnapping and murder. Since the end of hostilities in countries like El Salvador, the young people who emigrated due to the war in the United States returned as street soldiers with new laws and regulations. The gangs known as "Maras" are responsible for that fear in which they live because they have bloodied any attempt at peaceful democratic socialization and have led the country to a new undeclared war in which Salvadorans are the victims. Similar circumstances in Guatemala where after years of dictatorship, genocide and death professions like that of Sicario end up seducing the poorest young people for the fear and respect they instill. The hired killer recruits teenagers attracted to fast money. Her main game is fear and her job is intimidation and death. In order to ‘graduate' these assassins murder a person on the condition that the situation involves risk. But it is not the only problem, in these countries without war where deaths from violence occur every hour, their social portrait is considered the most terrifying place in the world according to the United Nations. In Honduras, its geographical value is a place of transit for drug trafficking, a constant fight by drug cartels, a country that does not generate social policies. It is the heartbeat of America. CITIZENS OF DESPAIR More than years after his expulsion from Myanmar, thousands of unregistered Rohingya refugees living in makeshift camp Kutupalong, Bangladesh, have been forcibly displaced from their homes, in an act of intimidation and abuse of local authorities. Some international organizations have been treating many people for injuries where the majority were women and children victims of rejection and the disdain and the situation seems to be moving to nowhere. The Rohingya are a small Muslim ethnic group have for years been fleeing the northern Rakhine state of Myanmar which were subject to cruel of Abandonment, violence and exploitation. AmA The story begins like this... "In Genesis there was only the sea. Everything was dark, neither sun nor moon, the water was the mother and her cloak covered everything." For indigenous people there is no difference between dream or reality, day and night, visible or invisible.... Everything is equally real with the eyes open or with them closed. The native, like Alicia, pierces the mirror of appearances naturally but not always with tranquility because if the imaginary is sobering it also has its black and white. EdeN is a story, an illusion that we build in its most spiritual and dreamy emotional state. For generations, indigenous people have explored light and the subconscious on trips beyond reason about a latent unreality of space / time, that origin is found in the need for mastery of the cosmos. They are dreams materialized in a hidden place of the mind. In a meeting of two worlds their universes divide or intertwine over water or earth, the ground and the stars, consciousness and matter. The project embraces an imaginative and unreal photography that plays with illusion and fable as a different form of viewing. That exploration that directs us to delve into the narrative forms of visual expression.
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