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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Julio Marchamalo
Julio Marchamalo
Julio Marchamalo

Julio Marchamalo

Country: Spain
Birth: 1994

I was born in Madrid on Book Day in 1994. Although I studied Physics, I combine a full time job on science with my passion for photographing candid moments, mainly around my hometown, Madrid (Spain). I am completely amazed by how light can change a corner or a street that you may have walked by thousands of times and transform it into another reality, much more interesting than the ordinary. Thus, I must confess that I am a seeker of light, and I leave it the liberty to direct me to the corners and characters that make the ordinary into something else. What captivates me about street photography is the opportunity it gives the photographer to create an interesting and beautiful reality through the world that surrounds us everyday. To build this alternate reality I can say that colors speak to me, and the street calls.

Websites

www.juliomarchamalo.com

@juliomarchamalo

 

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More Great Photographers To Discover

Maurizio Di Pietro
Maurizio Di Pietro
Italy
1974
Maurizio Di Pietro is an Italian freelance documentary photographer, primarily focused on social and environmental issues. He graduated in 2001 with a degree in Computer Science and often incorporates his passion for science and technology into his work, along with a sense of intimacy and delicacy. After working for many years as a stage photographer, he became involved with several non-governmental organizations in Morocco, Sri Lanka, Guatemala, and the West Bank, where he discovered and developed a passion for documentary photography and soon began a career as a freelance photographer. Today he also works as a reportage photography teacher at the Factory10 photography school. His images have been published in national and international magazines such as National Geographic, Geo France, Der Spiegel, BBC, L’Espresso, and many others. His work has been awarded in prestigious international competitions, including the Sony World Photography Awards, Pictures of the Year, and Lucie. In 2023, he was honored as Environmental Photographer of the Year. Turkana’s Resilience: Turkana, in northwest Kenya, is the poorest and least developed county in the ASALs (Arid and Semi-Arid Lands). More than 60% of the inhabitants of the Turkana district are pastoralists, so their survival depends entirely on livestock, natural resources for food and daily activities. In the last few decades, the region has experienced a growing population, the air temperature increased by about 3 degrees, while more frequent and prolonged droughts have reduced the natural resource base. Rainfed agriculture is not possible. Pasture resources for livestock have dramatically reduced, encouraging those closest to Lake Turkana to turn to fishing as an alternative livelihood. Communication, roads, social services, and political support are almost non-existent, leaving those living around Lake Turkana physically isolated and politically marginalized. Chronic dependence on food aid is high. The area is the fuse of violent conflict, indeed proliferation of illegal arms from southern Sudan has contributed to the escalation of insecurity along the area’s shared borders with Ethiopia, Sudan, and Uganda and other counties in Kenya as Pokot and Marsabit. Warfare is traditionally an essential part of Turkana life and the principal occupation of young men. Weapons are considered a man’s proud possessions and the practical tool for increasing herds by raiding and for expanding their territory. Fear of conflict and prolonged drought have pushed many to move to urban centers, up to Nairobi, looking for a new life. Furthermore, significant oil reserves have been discovered recently in Turkana County. The dimensions are immense. The main basin in Turkana alone contains more than 600 million barrels of oil according to the UK-based operating company Tullow Oil. For the government of Kenya, the discovery of oil is very good news instead for the pastoral communities the effects of oil exploration are likely to be more ambivalent.
Robert Moran
Robert Moran
United States
I am a freelance photographer living in a small town on the coast of Maine. My interest in photography began at the age of twelve when my parents bought me a Super 8 movie camera for Christmas. A few years later I bought my first 35mm camera. After studying art at the University of Maine, I started and ran several businesses over the course of twenty years. During that period I found the time to study photography and to pursue personal projects that resulted in several bodies of work. Although I'm not a travel photographer, many of these undertakings took me to Africa, Asia, Greenland, and the South Pacific. My photographs are in private collections in the USA, Great Britain, Australia, and Central America, and my work has been shown in galleries and museums across the US and abroad. My images and portfolios have been published in The Photo Review, Shots Magazine, B&W and Color Magazine, and on Aline Smithson's blog Lenscratch.
Nan Goldin
Nan Goldin
United States
1953
Nancy "Nan" Goldin is an American photographer. As a teenager in Boston in the 1960s, then in New York starting in the 1970s, Nan Goldin has taken intensely personal, spontaneous, sexual, and transgressive photographs of her family, friends, and lovers. In 1979 Nan Goldin presented her first slideshow in a New York nightclub, and her richly colored, snapshotlike photographs were soon heralded as a groundbreaking contribution to fine art photography. The Ballad of Sexual Dependency—the name she gave her ever-evolving show—eventually grew into a forty-five-minute multimedia presentation of more than 900 photographs, accompanied by a musical soundtrack. Goldin first exhibited at Matthew Marks Gallery in 1992. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris, and Whitechapel Art Gallery, London. Recent exhibitions include the slide and video presentation Sisters, Saints & Sybils at La Chapelle de la Salpêtrière, Paris, and her contributions to the 40th Les Rencontres d'Arles in 2009. Goldin was admitted to the French Legion of Honor in 2006 and received the Hasselblad Foundation International Award in 2007. The Ballad of Sexual Dependency was most recently presented live in Turbine Hall at Tate Modern, London, in 2008, and the slideshow was installed in the exhibition Here is Every. Four Decades of Contemporary Art at the Museum of Modern Art New York, September 2008 to March 2009. Her Scopophilia exhibition is currently part of Patrice Chéreau's special program at the Louvre. Goldin lives and works in Paris and New York.Source: www.matthewmarks.com For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. -- Nan Goldin Nancy Goldin is an American photographer and activist. Her work often explores LGBT subcultures, moments of intimacy, the HIV/AIDS crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986), a slide show, that documents the post-Stonewall gay subculture and Goldin's family and friends. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now). Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transgender communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them. Among her work from this period is Ivy wearing a fall, Boston (1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can recreate themselves and manifest their fantasies publicly. I think it's brave". Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with Bomb "I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so ... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life. I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be". Goldin describes her life as being completely immersed in the queens'. However, upon attending the School of the Museum of Fine Arts in Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly with Cibachrome prints. Her work from this period is associated with the Boston School of Photography. Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her slideshow The Ballad of Sexual Dependency—a title taken from a song in Bertolt Brecht's Threepenny Opera. Later published as a book with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of Ballad was driven by the need to remember her extended family. Photography was a way for her to hold onto her friends, she hoped. The photographs show a transition through Goldin's travels and her life. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror (from a song by The Velvet Underground) and All By Myself. Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45-minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. In the book Auto-Focus, her photographs are described as a way to "learn the stories and intimate details of those closest to her". It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin's notable photographs "Nan One Month After Being Battered, 1984" as an iconic image which she uses to reclaim her identity and her life. Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life. In 2000, her hand was injured and she currently retains less ability to turn it than in the past. In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a full narrative score, and voiceover, and included the three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through the production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films. After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Source: Wikipedia
Martín Chambi
Martín Chambi
Peru
1891 | † 1973
Martín Chambi Jiménez was a Peruvian photographer, originally from southern Peru. He was one of the first major Indigenous Latin American photographers. Recognized for the profound historic and ethnic documentary value of his photographs, he was a prolific portrait photographer in the towns and countryside of the Peruvian Andes. As well as being the leading portrait photographer in Cuzco, Chambi made many landscape photographs, which he sold mainly in the form of postcards, a format he pioneered in Peru. In 1979, New York's Museum of Modern Art held a Chambi retrospective, which later traveled to various locations and inspired other international expositions of his work. Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along. There he had his first contact with photography, learning the rudiments from the photographer of the Santo Domingo Mine near Coaza (owned by the Inca Mining Company of Bradford, Pa). This chance encounter planted the spark that made him seek to support himself as a professional photographer. With that idea in mind, he headed in 1908 to the city of Arequipa, where photography was more developed and where there were established photographers who had taken the time to develop individual photographic styles and impeccable technique. Chambi initially served as an apprentice in the studio of Max T. Vargas, but after nine years set up his own studio in Sicuani in 1917, publishing his first postcards in November of that year. In 1923 he moved to Cuzco and opened a studio there, photographing both society figures and his Indigenous compatriots. During his career, Chambi also traveled the Andes extensively, photographing landscapes, Inca ruins, and local people. Chambi began his work as a photographer as an apprentice to Max T. Vargas in Arequipa, Peru. During this time as an apprentice, Chambi learned different ways of manipulating light for portraits in the studio. His daughter, Julia Chambi, is quoted as saying, "my father was enchanted by light." His studio in Cuzco included a set of blinds and shutters made specifically so that he could alter the natural lighting to best suit his photographs. Furthermore, most of Chambi's photos of Indigenous people were taken outside so that he could use only natural lighting. Chambi produced a variety of works over his career as a photographer. Within the studio, he took many portraits of both wealthy and elite members of society, as well as the Indigenous people; he also took many self-portraits. Chambi is well-known for his work in documenting the Indigenous culture, including Machu-Picchu and other ruins. In a magazine interview in 1936, he is quoted saying "in my archive I have more than two hundred photographs of diverse aspects of the Quechua culture." He took pictures of ruins and architecture, but also tried to capture the events of everyday life. With regard to Chambi's diverse work, Jorge Heredia once said, "He has been the photographer of whites who seek after his images, but also of Indians and Mestizos." In addition to taking photographs for individual commissions or for his own personal interests, Chambi also used his photographs in other publications. One such publication was the use of his photographs in postcards. The other main use for his photographs was in a weekly Argentine newspaper called La Nación ("The Nation") where he contributed photographs of artists, writers, and any other assignments he was commissioned to do. Chambi traveled to Chile to exhibit some of his artworks and used his artistic skills to allow the audience to understand how the photographer prioritized the Indigenous outcome that relates to the Peruvians and the Chileans. There were some arguments that the two countries disagreed with each other when involving the differences of race, indigeneity, and civilization. The photographer managed to redevelop the process through his artwork, letting the viewers and art critics to understand these types of political issues that concern the Chileans and the Peruvians. The Peruvians were able to accept Indigenous people from various countries, but the Chileans did not accept them because of the 'pacification' campaigns of the late 19th century. The Mapuche leaders discuss educational benefits; however, they were dealing with some problems with governmental authorities that involves Chile and Peru. Chambi was determined to debunk racial stereotypes, but often up reinforcing them. El Sol, La Nacion, and other news critics prioritize the photographer's artwork because it would enable them to discuss national boundaries and open up ideological debate. Eighty-eight images by Peruvian photographer Martin Chambi have been added to the archives of the famous Instituto Moreira Salles (IMS) in Brazil. It gives the public an opportunity to discover one of the first major, indigenous Latin American photographers. Face Andina features nearly 90 photographs and 23 postcards of studio portraits and the urban and rural landscapes of Cuzco, Arequipa and Puno.Source: Wikipedia
Magdalena Berny
Magdalena Berny
Poland
1976
Magdalena Berny is a graduate from the Pozna? University of Physical Education, self-taught photographer, passionate, mother of two. Over the years, she managed to create her own quite distinctive style. Works by Magdalena were published in Polish and foreign press dedicated to photographs, illustrations used as guides to photographing children and for projects of book covers.About her:" Children as the subject of my photos appeared with their coming into the world. They were and are the cause, they determine the choice of subject of my photos. Photography for me is not only to catch the moments lived with children is also a record of my own emotions, sometimes stronger, sometimes weaker. How I " steal " look and emotions of children is due in large part to my own feelings. In addition to the joy and smile on my photographs often guests reflection, thoughtfulness and even sadness. In photography,I avoid references to the modern world while I often try to embed them in a climate of fairy tales. The inspiration for me as a photographer is all that surrounds me - broadly defined art, but also the place where I live every day as well as those that I manage to visit , and would later become sceneries of my photos".
Vincent Karcher
Vincent Karcher
France/Canada
1990
Vincent is a Portrait and Documentary Photographer. Nomad for the last decade, he settles sometimes and reflects on his journeys, at a base camp in the Rocky Mountains. Mostly continuously on a move. Educated in photography back in Montreal. He lives now with the sun most days, sometimes the moon too. His work of environmental portraits observe cultures and contemplate humans across the globe. Over the years he created an interesting archive of portraits, documenting and looking at different parts of the world on diverse themes and objects. Colors paint clearly the frame intentionally as black and white use to be his esquisses. He also looks partially at other subjects. Always work in progress.
Misha Maslennikov
Misha Maslennikov
Russia
1964
Misha Maslennikov was born in 1964 in the settlement of Dobroe close to Moscow, Russia. Since 2013 constantly lives in the city of Odessa, Ukraine. He began traveling in the Russian North in 2002. The main areas are single expeditions to the places difficult of access, visiting and co-operation with cenobites of active monasteries, sketes, with keepers of ancient temples, pogosts, studying the way of life of modern hermits, anchorites, real intercourse and contacts with backwoodsmen. Since the middle of 2005 Misha goes in for field reportage photography and begins thinking seriously about the photographic process as a way of the particular conveyance of author ideas in a missionary vein. At present Misha Maslennikov continues his work on private and public projects in documentary photography, individual and group expeditions according to a given subject, collection of materials, visual ethnography. Since 2006 - member and Team Leader of the Noga Creative Union. Since 2010 - member of the Russian Photounion. Since 2010 - member of the Russian Geography Society.
Silvia Alessi
Silvia Alessi
Italy
1975
I was born in Bergamo, Italy in 1975. I have worked as a hairstylist and make-up artist since I was 17. In 2004, while on a trip to Asia, I discovered an interest in reportage photography. I have since travelled extensively pursuing my passion for photography and “telling stories worthy of being told.” My process is a blend of artistic expression and reportage, inspired by an openness to diverse cultures and traditions. Blending this openness with curiosity and artistic expression has allowed me to produce award-winning photography. For many months before travelling to my chosen destination, I research and develop my concept, considering particularly the social context. I also consider deeply the question of finding the appropriate visual language to render the concept beautifully.
Domenico Iannantuono
Domenico Iannantuono
Italy
1971
Domenico Iannantuono is an Italian photographer based in Puglia. A whole series of interests such as art, music, literature and travel converge in his photography. He is particularly sensitive to issues related to the world of work, human rights and the environment. He fascinated by religious anthropology and socio-cultural changes. He makes reportage the most important point of his work.
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Henk Kosche
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