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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Julie-Anne Davies
Julie-Anne Davies
Julie-Anne Davies

Julie-Anne Davies

Country: Canada

Julie-Anne’s earliest memories consist of lying on the carpet of her childhood home scouring through the pages of her father’s prolific National Geographic collection. Her mind was shaped at a young age by visuals of exotic far off lands, cultures completely unlike her own and wild creatures her imagination barely yet had the capacity to comprehend. On her 10th birthday she received her first camera and recalls a distinct sense of ‘knowing’ from that moment that photography was going to play a central and defining role in her life.

In love with her rural home in the mountains of Western Canada, but unable to suppress her nomad heart, Julie-Anne has spent the past several decades traveling the world, often with her two young children in tow. She leads cultural photography tours for UK based Wild Images and is an expedition photographer and ‘Adventure Specialist’ (yes, this is her real job title) for the world’s largest outdoor female adventure company, Wild Women Expeditions.

Her heart is drawn to remote and challenging to access corners of the world and in particular to regions where lives are still intricately and intrinsically tied to the land on which they depend. The human condition and how it is shaped by its relationship to nature drives an endless curiosity in Julie-Anne and forms the backbone of her photography work. Fascinated by cultural, religious and ethnic diversity, she is often driven by a sense of urgency to document within these remote parts of our planet ‘what still is’ before it becomes ‘what was’. In doing so, she hopes to play her part in contributing to a visual archive of the beautiful but rapidly vanishing cultural diversity among humanity.

She is a five time exhibitor in the prestigious Atlas of Humanity project, an ethnographic showcase of the world’s diverse cultures in Paris, Milan and New York and has been featured in many international publications. At home, her energy is spent, other than with family, in photographing the stunning Canadian landscape and most recently shifting towards documenting our changing natural environment through film and storytelling.

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More Great Photographers To Discover

Kristoffer Albrecht
Kristoffer Albrecht is a Finnish photographer, born in Helsinki, Finland in 1961. Albrecht lives in Ingå, Finland, and works as an independent photographer. His photographic work has been exhibited in his native Finland and internationally. Albrecht's work can be seen in collections at Helsinki’s Finnish Museum of Photography, Stockholm’s Moderna Museet, Moscow’s Pushkin Museum, Bibliothèque Nationale de France in Paris, Metropolitan Museum of Art in New York, and more. Albrecht has published some 30 books, among them Metropol (1998), Memorabilia (2004) and ZigZag in Europe (2009). Kristoffer Albrecht is represented in art museums and other public collections in Finland, France, Germany, Russia, Sweden, USA. Kristoffer Albrecht has been exhibiting both at home and abroad since 1983. Previously mentored by acclaimed Finnish photographer Pentti Sammallahti, Albrecht exhibited alongside Sammallahti at in the Print Sales Gallery in 2017. Near the Wind showcased a collaborative body of work specially commissioned by The Photographers’ Gallery. Albrecht has exhibited in solo and group shows across Finland, Russia, Demark, France, Spain and the US since 1983, and his works can be found in international public collections including the Finnish Museum of Photography, Helsinki, the Bibliothèque Nationale de France, Paris, the Metropolitan Museum of Art, New York, the Modern Museet, Stockholm and The Pushkin Museum, Moscow. Making photobooks is an important means of his artistic expression; to date Albrecht has published some thirty photobooks, most recently Domestica (2018). He has been teaching photography and also conducting research in the field for several decades.Source: Invaluable
Karen Knorr
United States
1954
Karen Knorr was born in Frankfurt am Main, Germany and was raised in San Juan, Puerto Rico in the 1960s. She finished her education in Paris and London. Karen has taught, exhibited and lectured internationally, including at Tate Britain, Tate Modern, The University of Westminster, Goldsmiths, Harvard and The Art Institute of Chicago. She studied at the University of Westminster in the mid-1970s, exhibiting photography that addressed debates in cultural studies and film theory concerning the ‘politics of representation’ practices which emerged during the late 1970s qnd early 1980s. She is currently Professor of Photography at the University for the Creative Arts in Farnham, Surrey. Karen Knorr produced Belgravia (1979-1981) a series of black and white photographs with ironic and humorous texts that highlighted aspirations, lifestyle and the British class system under the neo liberalist Thatcher era in the late 70’s and early 80’s. Her most well known work called Gentlemen (1981-1983) was photographed in Saint James’s clubs in London and investigated the patriarchal conservative values of Britain during the Falklands war. Karen ’s work developed a critical and playful dialogue with documentary photography using different visual and textual strategies to explore her chosen subject matter that ranges from the family and lifestyle to the animal and its representation in the museum context. In 1986 her work Connoisseurs used colour to explore connoisseurship regarding authenticity, heritage and art in England. Here she introduced elements and staged events in the architectural interiors of Chiswick House, Osterley Park House and the Dulwich Picture Gallery. The use of text and captioning appeared as a device to slow down consumption of the image and to comment on the received ideas of fine art in museum culture. These strategies still appear in her photography today with digital collage of animals, objects and social actors in museums and architecture challenging the authority and power of heritage sites in Europe and more recently in India. Academies (1994- 2001), a series of colour photographs taken in academies and museums across Europe, reflects on the relationship between the production of western fine art, its transmission and consumption. The work continues a critical dialogue with conceptual art, visual culture, feminism and animal studies reflecting an engaged interest in theory and its relation to photographic practice. In 1995 the Academies project included video and installation with wall text transfers in order the explore the relationship between art and science in the staging of transgressive performative events and gestures in museums. Being for Another (1995), an 18 minute video records a young man caressing an 18th century sculpture by Canova in the Victoria and Albert Museum and three lifeclass models enact the lifeclass on the dissecting table of the anatomy theatre of Uppsala University in Lessons (2002). The introduction of a sound glass sculpture with recorded birdsong responded to the furniture and art collection of The Wallace Collection in 2001 synthesizing a 1960’s Pete Seeger song with an actual blackbird’s sound. In her series Fables (2004-2008) photographs mixes analogue and digital photography playfully reconfiguring tales (Ovid, Aesop La Fontaine) with popular culture (Disney and Attenborough) in museums and heritage sites which include Carnavalet Museum, the Museum of Hunt and Nature in Paris, Chambord Castle and the Conde Museum in Chantilly Castle. The visuality of these photographs is rich with reference to the baroque. In the last section of the work, Knorr interrogated the free flowing space of modern architecture in Corbusier’s Villa Savoye reintroducing life into the modernist aesthetic of a building. Since her life changing journey to Rajasthan, India in 2008, Karen Knorr’s work continues to explore Rajput and Mughal cultural heritage and its relationship to questions of feminine subjectivity and animality. India Song, a series of carefully crafted photographs explores the past and its relation to India’s contemporary heritage sites across Rajasthan. Since 2012 Knorr has been visiting Japan to reflect on tradition within contemporary Japan referencing Ukiyo-e prints and folktales connected to Shinto and Buddhist heritage sites.Her first series entitled Monagatari, places animals and humans in temple sites found in Nara, Kyoto, Tokyo and Ohara. Her second related series Karyukai is inspired by the Kano’s 36 portraits of poets also referencing “bijinga” prints of the 17th century. Women photographed by Karen Knorr were asked to compose waka and haiku reflecting on their life and dreams. Source: karenknorr.com About India Song Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography. Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.
Guido Klumpe
Germany
1971
Guido Klumpe was born in 1971 in Germany. He's been taking photographs since he was sixteen years old. After graduating from high school, he traveled through Southeast Asia. From then on he was infected by street photography, without knowing that this genre even existed. He discovered the magic of the decisive moment. After his studies in social work, other art forms became interesting for him. He danced and acted in theatre. But in 2016 he rediscovered his passion for street photography. Since then, there is not a day when he is not involved in (street) photography. He is almost blind since birth on the left and have 25% vision on the right because the optic nerves don't pass on as much information to the brain. You can imagine it like an internet video with a low data rate. Through photography he go to and beyond the limits of his vision. Guido Klumpe won several awards, among others at the Paris Street Photography award, the German Streetfotografie Festival and the Minimalist Photography award. His work has been published in various international online and print magazines. My work combines three genres that influence each other: street photography, minimal photography and abstract photography. I see my city as an urban landscape. A landscape made up of shapes, colors, reflections and light. I can dissolve and reassemble these elements, limited only by the laws of optics, the possibilities of the camera and my imagination. The overarching theme is the tension between urban architecture and its inhabitants. In my ongoing series 'Loosing one dimension' I playfully explore the fragile moment of transition where three-dimensional architecture dissolves and abstracts into the two-dimensional. When the viewer loses orientation and can't tell for sure what they see, which parts of the image are in front, and which are behind, they experience a bit of how I sometimes lose my bearings in the world. To achieve this effect, I photographically superimpose different parts of the building. I often find my motifs on arterial roads, industrial areas or suburbs.
Hyun De Grande
South Korea/Belgium
1987
My name is Hyun De Grande. I was born in Seoul, South Korea in 1987 and I was adopted to Belgium when I was around 4 months old. I grew up in a small town called Oostkamp together with my parents and my brother, who is also adopted. At the age of 15, I started studying film and photography at the Art Academy in Bruges, which was my introduction to both artforms. After two more years of studying film at the School of Arts in Ghent, I moved to Brussels in 2008 to specialize in cinematography at the RITCS. I'm still residing in Brussels, and I currently work as a cinematographer in the narrative and commercial fields. Street photography is a passion to which I love devoting my energy to in between jobs. It's obvious that my cinematography background has heavily influenced my photography style, yet I try to approach things in a different way when I'm taking pictures compared to shooting a movie. It's mainly much more personal because I don't share the creative process with other people, which allows me to explore themes that are closer to myself as a person. Statement As a photographer I'm very fascinated by the feelings of loneliness, isolation and/or alienation because they strongly resonate with me personally. Perhaps it can be back-tracked to my adoption, which has created a sense of never really feeling at home anywhere I go, and therefore these emotions have always been a big part of my life. Esthetically, I'm mainly looking for clear shapes and lines as an arena for my subjects, both coming from light and/or architecture. I feel that the solidity of these shapes enhances the fragility of the people portrayed within these lines. Trapped or lost in a cold and unforgiving environment. I also love working in a wider frame as it allows me to use that extra horizontal space to evoke emptiness. I find it interesting to utilize the surroundings of my characters to create emotional context, even when these surroundings are blank or abstract. I use a 2:1 ratio on all of my photographs, which stems from my cinematography background.
R.J. Kern
United States
1978
Paula Aranoa
Argentina
1966
I was born in Buenos Aires, Argentina, in 1966 and had the privilege of living in cities like São Paulo, Mexico City, and Barcelona. Each of those places has left an indelible mark on me. I love them. They are my second homes. I discovered my passion for photography after exploring studies in philosophy, fashion design, and landscaping. Everything I received back then continues to pulse in my works. Currently, I reside and develop my projects in Buenos Aires. I have actively participated in fairs and exhibitions, both nationally and internationally. The UN has exhibited some of my photos on three occasions. I had the honor of seeing my work published in different internationally renowned books and magazines. I have also collaborated with Sony Alpha Latin seminars. My work focuses on the unnoticed with the intention of making it noticed, and my terrain is the everyday. Introspection and silence are, along with my camera, my best allies when it comes to questioning reality and allowing myself to be questioned by it. I pursue the veiled, not to unveil it, but to point out its mystery. I go after the traces, not the evidence. That which begs to be seen and whose secrets I hear while looking. Photography places me at the threshold of the thousands of half-open doors that I encounter in my routine. Its mystery attracts me for what it suggests as a clue, not for what it holds in darkness. My joy: that the viewer stops at its threshold. STATEMENT I photograph the unnoticed, and my terrain is the everyday. Introspection and silence are, along with my camera, my best allies when it comes to questioning reality and allowing it to question me. My work seeks to capture what words lack. I pursue the veiled, not to unveil it, but to point out its mystery. I go after the traces, not the evidence. That which begs to be seen and whose secrets I hear while looking. Photography places me at the threshold of the thousands of half-open doors that I encounter in my routine. Its mystery attracts me for what it suggests as a clue, not for what it holds in darkness.
Mona Singh
Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision. She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world. Silent Colors: "Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan. She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
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Win a Solo Exhibition in February
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry