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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
David Salcedo
David Salcedo
David Salcedo

David Salcedo

Country: Spain
Birth: 1981

My maternal grandfather had a grocery store in the town, the paternal grandfather did a thousand jobs throughout Spain, the grandmothers made a living sewing clothes and faced continuous worries. My parents had to emigrate to and they ended up having a bar, where the whole family worked. I, perhaps, should have stayed with the bar, but I chose the path of light. There was no shortage of those who told me that it would be difficult and hard, but no one in my family has had it easy. Why would I be less?

Years later I am full of new physical and spiritual scars, which have added to what already existed within me and always defined my way of seeing the world. And it is that I will never be able to escape from what is close to me and is the measure of everything I discover, of the tenderness that they taught me to have in my heart and the silence with which I lived for years. It is in this mixture that my photographs are macerated.

The set of these circumstances, nothing special, is what has led me to win several prizes and scholarships, exhibit nationally and internationally, participate in a good number of catalogues, publish several fanzines, collaborate with the Kursala of the University of Cádiz, to publish with the publishing house Ediciones Posibles

And it seems that everything was an instant.

Statement
Next you have Fuchina, a work on the festivals of my parents’ town, Caravaca de la Cross. To do so, I fled from the traditional way of approaching parties with three very clear ideas, also looking for them to be protagonists in a subtle way. The first of the ideas is to do a job where the sound was extracted in the middle of all the noise of some parties with more than 20 music bands and more than 50 brass bands. The second of the concepts is to play with the plans, cuts and compositions to make the viewer feel as if they were inside the festivities. Third is to create a metaphor about the general situation of the town itself with strong light and faded color. The name Fuchina refers to a liquor that decades ago was distilled illegally for parties.
 

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Geert Broertjes
The Netherlands
I try to look at the world as open and honestly as possible. No prejudices about people and not take things for granted. I'm a sensitive person, which means that I use my feelings as a guideline for everything I do. I think more with my heart than with my head. As a photographer I'm fascinated by the diversity of people. What are their motivations, on what do they base their choices in life and what is their purpose. This fascination began at an early age, when I was traveling with my parents through Europe. I used the old camera from my grandmother and I was immediately intrigued by this medium. After high school I studied Media & Information Management. But I soon realized that this was not for me and that my interest in photography was still there. So I began to study photography at the Photo Academy in Amsterdam where I graduated end of 2013. One of my strengths is that people quickly feel comfortable with me. This is because I have a sincere interest for the people I photograph and I'm open minded. This advantage I use in my photography. The photos I make are created from the feeling and trust that people have with me. They are personal, intimate and real. I'm not looking for the reality, because in my opinion, that doesn't exist. What I try to capture is a poetic, melancholic and romantic version of life. For my own projects I work with analogue cameras, because this expresses the mood I'm looking for. The magic of analog is that you never know for sure what the result will be. I encourage the viewer to use his or her own imagination. Since graduating I have been working as a freelance photographer for many different clients. I like the alternation between commercial assignments with a short span and my own long-term projects. About One Year In a very short space of time, Geert Broertttes lost the most important women in his life. His aunt, grandmother and mother passed away. He shared his grief with his girlfriend, who became a recurring theme in this series. But even this relationship ended, a couple of months after his mother passed. Broertttes photographed the process instinctively. It was only afterwards that he noticed the coherence of his work. It became a poetic story about love, loss and grief. The beautiful photographs, all shot analogue in raw black and white, reveal the dark feelings he experienced during this intense period in his life. All about One Year About Project K In March 2019 Geert had been suffering from abdominal pain for a while and it was getting worse. He had a rectal bleeding on the toilet and lost two liters of blood. After a few days in the hospital the doctor came with bad news. Geert had a tumor in his colon. They told him that he could not be saved anymore because the cancer had already spread to his lymph nodes, liver and lungs. After a second and third opinion in different hospitals the image was drastically adjusted. "It was all very strange and confusing, but after a few intense weeks the oncologists came with the message that I could get better." In April was the first operation, half of his colon was removed, then he underwent three chemotherapy treatments and in august he had another operation to remove pieces from his liver and gallbladder. His cancer is genetic. He got it because of the Lynch syndrome that his father was carrying, he past away last November. When Geert was diagnosed with colon cancer, Lotte asked him if she could make a portrait of Geert: "pure, without the presence of poisonous medicine in his body". That moment turned out to be the start of project 'K', in which we chose analogue photography to represent the three most common cancer treatments: chemotherapy, radiotherapy and surgery. Directly after his chemo, we used Geert's urine to soak the fim rolls with chemo. This way, we represented chemotherapy. To represent radiation, 4x5 inch film was irradiated in AMC hospital: the square in the middle of the film symbolizes Geerts' colon tumor which has the same size. Lastly, we partially burned some negatives to represent the surgery. With this series, we wanted to visualize the world you live in as a patient, and the huge contradiction in the treatments: it is made to make you better, but it breaks you down as well. Project "K" is about the fucked up reality in which strength and vulnerability play the lead role and hope is the constant factor. We are Geert Broertjes & Lotte Bronsgeest "Lotte explores the vulnerability of the body and the transience of life play an important role in her work, in which she always searches for the point where beauty meets confrontation. People are often quick in their judgement about each other, basing their opinions on the clothed body. Lotte is intrigued by discrepancies between opinions and reality." "Geert is fascinated by the diversity of people. What are their motivations, on what do they base their choices in life and what is their purpose. His work is a poetic, melancholic and romantic version of reality. He encourages the viewer to use his or her own imagination. His work is personal and emotional." We both graduated in 2013 from the Photo Academy in Amsterdam, that is where we met. We work as freelance photographers for different clients and create our own projects. Project K Website
Caterina Bernardi
I was born in a town called Orkanger on the north-west coast of Norway, the land of the northern lights and long winters. This is where I draw a lot of my inspiration from, with its incredibly dramatic scenery and landscapes, and fairytales I grew up with; stories of moody and mystical Nordic environments brimming with depictions of trolls, princesses and nature.My connection with photography first blossomed in Rio de Janeiro, Brazil where I lived in the very early 1990’s. There, I learned Portuguese, encountered very passionate people and discovered my own passion for photography. A friend had found a producer to make her first CD, and I took pictures of her recording music with famous Brazilian artists in the studio. It was an incredible experience that compelled me to pursue photography, which eventually led me to San Francisco, a magnificent city to go to live and work. There, I got my Bachelors of Fine Arts and ventured out on my own to shoot.In the past decade I have created images for clients such as Merck, Genentech, Reebok, The Times of London, Pasolivo, Gilead, Bristol-Myers Squibb, KQED TV., Yoga Journal, Vodafone, and Warner Bros, while my work has appeared in photo publications such as Communication Arts, PDN, Graphis, APA Shows, and Graphic Design USA. Currently I am located in San Francisco, CA, but once a year the northern winds call upon me and I go back home and visit Norway, to feel the breeze and see the midnight sun. Artist StatementI think artists in general have an innate appetite for life, and speaking for myself, I find that curiosity and passion drive me to explore and create, to be mesmerized by life and it’s constant flux of magical encounters, fears and achievements; my vehicle of expression is the art and craft of photography. In this process I aim to intimately connect the subject and me and ultimately the viewer to a dialogue and to linger, to inspire and to create, and to preserve intense moments of emotion and beauty and mystery.What I strive for in an image is to get genuine emotion and expressions from the subject. Sometimes it happens very naturally, and sometimes it is a real challenge to put a person at ease, to make them feel comfortable and enjoy having a camera pointed at them. It is a sensitive moment I share with my subjects while photographing, and establishing a connection with the talent is very important in order to capture striking images, and I work hard to make them comfortable and excited so they give their best. With great collaborations everyone wins and walks away with a sense of achievement.Photography gives my life a purpose and a meaning, to further explore and discover myself, the arts and science, and our mysterious existence.
Slim Aarons
United States
1916 | † 2006
Slim Aarons was an American photographer noted for his images of socialites, jet-setters, and celebrities. At 18 years old, Aarons enlisted in the United States Army, worked as a photographer at the United States Military Academy, and later served as a combat photographer in World War II and earned a Purple Heart. Aarons said combat had taught him the only beach worth landing on was "decorated with beautiful, seminude girls tanning in a tranquil sun." After the war, Aarons moved to California and began photographing celebrities. In California, he shot his most praised photo, Kings of Hollywood, a 1957 New's Year's Eve photograph depicting Clark Gable, Van Heflin, Gary Cooper, and James Stewart relaxing at a bar in full formal wear. Aaron's work appeared in Life, Town & Country, and Holiday magazines. Aarons never used a stylist, or a makeup artist. He made his career out of what he called "photographing attractive people doing attractive things in attractive places." An oft-cited example of this approach is his 1970 Poolside Gossip shot at the Kaufmann Desert House designed by Richard Neutra, with owner Nelda Linsk as one of the models in the photo. "I knew everyone," he said in an interview with The (London) Independent in 2002. "They would invite me to one of their parties because they knew I wouldn't hurt them. I was one of them." Alfred Hitchcock's film, Rear Window (1954), whose main character is a photographer played by Jimmy Stewart, is set in an apartment reputed to be based on Aarons' apartment. When you photograph a lot of women, you get to know things. -- Slim Aarons In 1997, Mark Getty, the co-founder of Getty Images, visited Aarons in his home and bought Aarons' entire archive. In 2017, filmmaker Fritz Mitchell released a documentary about Aarons, called Slim Aarons: The High Life. In the documentary, it is revealed that Aarons was Jewish and grew up in conditions that were in complete contrast to what he told friends and family of his childhood. Aarons claimed that he was raised in New Hampshire, was an orphan, and had no living relations. After his death in 2006, his widow and daughter learned the truth that Aarons had grown up in a poor immigrant Yiddish-speaking family on the Lower East Side of Manhattan. As a boy his mother was diagnosed with mental health issues and admitted to a psychiatric hospital, which caused him to be passed around among relatives. He resented and had no relationship with his father and had a brother, Harry, who would later commit suicide. Several documentary interviewees postulate that if Aarons's true origins had been known, his career would have been unlikely to succeed within the restricted world of celebrity and WASP privilege his photography glamorized.Source: Wikipedia Slim Aarons was a celebrated American photographer who chronicled the leisurely lifestyle of the rich and famous in his captivating shots of beguiling figures in luxurious environments. The glamorous world of his photographs, in which effortlessly beautiful and wealthy people lounge poolside, became an iconic series that allowed Aarons access to shoot some of the most candid portraiture of the 20th century. We love how Aarons worked without any need for stylists or elaborate lighting, instead preferring to photograph celebrities just as they were, creating alluring scenes that are a window into a different lifestyle. In presenting glimpses of the rich and famous engrossed in leisurely pursuits, the artist exposes elements of a life that would otherwise not be on view, allowing his audience to live the high life - vicariously. Born and raised in New York, Aarons began taking pictures at the age of eighteen, after enlisting in the US Army, where he served as an official combat photographer during WWII. In a career that spanned six decades, Aarons’ camera lens moved from soldiers to stars and celebrities, and the self-proclaimed realisation that the only beaches worth photographing were "decorated with beautiful, seminude girls tanning in a tranquil sun." Over the course of his 50 year career, Aarons was a regular contributor to magazines such as Life, Town & Country, Vogue and Holiday and received an exclusive look into the lives of figures such as the Kennedys, Marilyn Monroe and Grace Kelly. In 1997, Mark Getty of Getty Images bought Aarons’ entire archive of photographs, and published a book of his work Poolside with Slim Aarons a decade later. Aarons’ intimately candid scenes have given him an era-defining legacy as one of the most influential photographers of his generation. Source: Art Republic
Frans Lanting
The Netherlands
1951
Frans Lanting, born on July 13, 1951, in Rotterdam, Netherlands, is a renowned nature photographer celebrated for his breathtaking images capturing the beauty and diversity of the natural world. From an early age, Lanting exhibited a deep fascination with the wonders of nature, spending countless hours exploring the landscapes and wildlife surrounding his hometown. Lanting's career took off in the 1970s when he embarked on a series of expeditions to remote corners of the globe, capturing breathtaking images of wildlife and landscapes. His work quickly gained attention for its unparalleled beauty and technical mastery, earning him widespread acclaim within the photography community. I remain as curious and as excited about the world as I was when I started. I also have a strong sense of mission. I really believe that through my work I can contribute to a better understanding of the natural world. There's never been a greater urgency for us to increase our appreciation for the natural systems that support all life on the planet - including ourselves! – Frans Lanting Throughout his career, Lanting has focused on documenting the wonders of the natural world, from the vast plains of Africa to the icy landscapes of Antarctica. His photographs are characterized by their striking compositions, vivid colors, and intimate portrayal of animals in their natural habitats. One of Lanting's most iconic projects is his acclaimed book "Life: A Journey Through Time," which explores the diversity and interconnectedness of life on Earth. The book features stunning photographs accompanied by insightful commentary, offering viewers a glimpse into the wonders of the natural world. In addition to his work as a photographer, Lanting is also a passionate conservationist dedicated to raising awareness about environmental issues. He believes that photography has the power to inspire positive change and is committed to using his images to advocate for the protection of wildlife and wild places. Over the years, Lanting's work has been featured in numerous exhibitions, publications, and documentaries, earning him a reputation as one of the world's leading nature photographers. He has received numerous awards and honors for his contributions to the field, including the prestigious Wildlife Photographer of the Year Award and the Lucie Award for Outstanding Achievement in Wildlife Photography. Despite his success, Lanting remains humble and deeply connected to the natural world that he so passionately captures through his lens. He continues to travel the globe in search of new subjects and experiences, always striving to push the boundaries of his craft and inspire others to appreciate the beauty and diversity of life on Earth. Frans Lanting's work serves as a powerful reminder of the importance of preserving our planet's precious biodiversity for future generations. Through his stunning photographs, he invites viewers to pause, reflect, and marvel at the wonders of the natural world, reminding us of our shared responsibility to protect and cherish the planet we call home.
Alesya Osadchaya
Russia Federation
1990
Alesya Osadchaya was born in October of 1990 in Moscow, Russia. She studied veterinary medicine at the Moscow Veterinary Academy. Currently, he also works as a teacher in the field of veterinary entrepreneurship. The fascination with photography came from childhood. Dad taught her to handle the camera, later she got carried away with photography seriously and began to earn money by taking pictures - portrait and reportage. After graduation, the institute began to travel and take pictures of more scenery and travel reports. Travel and photography are closely related. Alesya rarely uses the services of travel agencies and travels alone. Always takes a camera with her. Through photographs, she shows the fragility of man compared to the forces of nature. Statement: No wonder they say that the most cool photos are obtained at a time when the elements are raging. Nature opens on the new side. In bad weather, few people can force themselves to leave the warm bed and go to meet the unknown. At this time, and people who are on the street once pretend to wear "masks". They are busy with more important things - how not to get wet, do not mess up your hair, save your property, and even the safety of your life, after all. But these are not all. However strange it may sound, I am inspired by the vagaries of nature: storms, hurricanes, tornadoes, storms. As a child, I reviewed a bunch of BBC films (and not only) about similar natural phenomena. Probably, therefore, at such moments in the head immediately the plots for photographs are born - a good look. But even in the quietest weather one can find "moments of strength". With my capture I want to show the greatness of nature, its beauty, strength and scale in comparison with fragility and human life.
Peter Harlow
Australia
1948
Peter was born and educated to first degree standard in the UK. He gained a private pilot license in 1970. His career spans aerial photography, corporate communication and management development. After emigrating to Australia in 2001 he ran his own company providing small light aircraft to farmers, flying schools and private clients. Recently he took up commercial drone flying – which combines his love of photography and views from the sky. He currently lives in Melbourne with his artist partner. As a photographer, I have always been fascinated by the interplay of light, shadows and shapes that exist in both the natural and human-made world. For many years, as a pilot I saw the landscape from a small aeroplane. With the advent of drone technology, which enables the camera platform to remain static and fly much closer to the surface, I can now explore the landscape from new angles and perspectives, capturing images that were impossible from an aeroplane. Artist statement: One of the key elements of abstract art is the process of abstraction, where artists take familiar objects and break them down into their essential components. Similarly, my photographs capture landscapes from above, abstracting the natural world into a series of shapes, colours and textures that are sometimes quite different from their original form. By removing the context of the wider landscape, I want to encourage the viewer to see the world in a new light, as a collection of abstract forms that are both beautiful and intriguing. In abstracting the landscape, my aim is to create a body of work that challenges your perceptions and invites you to see the beauty and charm that exists all around us.
Arthur Rothstein
United States
1915 | † 1985
Arthur Rothstein was an American photographer. Rothstein is recognized as one of America's premier photojournalists. During a career that spanned five decades, he provoked, entertained, and informed the American people. His photographs ranged from a hometown baseball game to the drama of war, from struggling rural farmers to US Presidents. ...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph. -- Arthur Rothstein The son of Jewish immigrants, Rothstein was born in Manhattan, New York City, and he grew up in the Bronx. He was a 1935 graduate of Columbia University, where he was a founder of the University Camera Club and photography editor of The Columbian, the undergraduate yearbook. He was a classmate of abstract painter Ad Reinhardt. Following his graduation from Columbia during the Great Depression, Rothstein was invited to Washington DC by one of his professors at Columbia, Roy Stryker. Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, Rothstein prepared a set of copy photographs for a picture sourcebook on American agriculture that Stryker and another professor, Rexford Tugwell were assembling. The book was never published, but before the year was out, Tugwell, who had left Columbia to be part of FDR's New Deal brain trust, hired Stryker. Stryker hired Rothstein to set up the darkroom for Stryker's Photo Unit of the Historical Section of the Resettlement Administration (RA). Arthur Rothstein became the first photographer sent out by Roy Stryker, the head of the Photo Unit. During the next five years he shot some of the most significant photographs ever taken of rural and small-town America. He and other FSA photographers, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the living conditions of the rural poor in the United States. The Resettlement Administration became the Farm Security Administration (FSA) in 1937. Later, when the country geared up for World War II, the FSA became part of the Office of War Information (OWI). The photographs made during Rothstein's five-year stint with the Photo Unit form a catalog of the agency's initiatives. One of his first assignments was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana. The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead II, a Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration. The Farm Security file would never have been created if we hadn’t the freedom to photograph anything, anywhere in the United States—anything that we came across that seemed interesting, and vital. -- Arthur Rothstein On February 18, 1937, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, and was preparing an article on tenancy for the July issue of The American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that Life [magazine] will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip, and Rothstein went to Gee's Bend alone. The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture reflected an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs. Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured. There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of August 22, 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian—and African—values. In 1940, Rothstein became a staff photographer for Look magazine but left shortly thereafter to join the OWI and then the US Army as a photographer in the Signal Corps. His military assignment took him to the China-Burma-India theatre and he remained in China following his discharge from the military in 1945, working as chief photographer for the United Nations Relief and Rehabilitation Administration, documenting the Great Famine and the plight of displaced survivors of the Holocaust in the Hongkew ghetto of Shanghai. In 1947, Rothstein rejoined Look as Director of Photography. He remained at Look until 1971 when the magazine ceased publication. Rothstein joined Parade magazine in 1972 and remained there until his death. He was the author of numerous magazine articles and a staff columnist for US Camera and Modern Photography magazines and the New York Times, Rothstein wrote and published nine books. Rothstein's photographs are in permanent collections throughout the world and have appeared in numerous exhibitions. A selection of these one-man shows include shows at the International Museum of Photography at George Eastman House; the Smithsonian Institution; Photokina; Corcoran Gallery of Art; Royal Photographic Society, as well as traveling exhibitions for the United States Information Service and for Parade magazine. He was a member of the faculty of the Columbia University Graduate School of Journalism and a Spencer Chair Professor at S. I. Newhouse School of Public Communications, Syracuse University. Rothstein was also on the faculties of Mercy College, and the Parsons School of Design in New York City, and he took great pride in mentoring young photographers including Stanley Kubrick, Douglas Kirkland, and Chester Higgins, Jr. A recipient of more than 35 awards in photojournalism and a former juror for the Pulitzer prize, Rothstein was also a founder and former officer of the American Society of Magazine Photographers (ASMP). Arthur Rothstein died on November 11, 1985, in New Rochelle, New York.Source: Wikipedia It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality. -- Arthur Rothstein
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