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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Apostolos Kaloudis
Apostolos Kaloudis
Apostolos Kaloudis

Apostolos Kaloudis

Country: Greece
Birth: 1980

My name is Apostolos Kaloudis, and I'm an adventurer. I consider myself as an adventurer/explorer, rather than a photographer. When I was studying Medieval History, I was amazed by stories and details of military campaigns. Something that impassioned me later to go out and explore remote lands, such as the Silk Road, the vast Steppes & deserts of Central Asia & northern China or even former Himalayan Kingdoms.

In 2015, I ve joined the National Geographic Photography Community (natgeoyourshot), a great "school of photography".

Children of the Central Asian revolt of 1916
For thousand of years, pastoral & nomadic tribes lived across the northern steppes from Eurasia to China.This physical isolation allowed to some of them like the Kazakhs and Kyrgyz to preserve many of their oldest traditions, including the 4.000-year old art of eagle hunting. It wasn t always easy to maintain their ancestral traditions. When the Russian Empire began expanding into Central Asia during the second half of the 19th century it imposed a colonial regime upon the people of Central Asia. The attempts to settle and assimilate the nomadic tribes, the rampant corruption of the Russian colonial regime and Tsarist colonialism in all its economic, political, religious, and national dimensions are all seen as the contributing causes to an anti-Russian uprising in 1916 by the indigenous inhabitants of Central Asia. The revolt was put down with the utmost savagery, and more than hundred of thousands Kazakhs & Kyrgyz are said to have sought refuge across the Chinese and Mongolian frontiers. For the remaining Kazakhs & Kyrgyz, under the Soviet rule during the 1920s & 1930s, marked one of the darkest pages in their history.

This project represent the diaspora of Kazakhs that found refuge after the events of 1916 in Western Mongolia, and managed to keep their millenniums-old traditions alive. In the future I wish to expand the project till Xinjiang China, & cover the smaller comunities in Kyrgyzstan & Kazakhstan.

Website

@alpha0929

 

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Aziza Chinibekova
Uzbekistan
2002
Interest in street photography emerged during the years of study at the National Institute of Arts and Design, Named After Kamoliddin Behzod. Photography became an instrument of research into the everyday life phenomenon. Later on, this interest developed into a conscious art practice, which main focus was on studying the liminal conditions of the urban environment that appear in the intersections of space, time, and human presence. In her practice, Chinibekova often refers to the Impressionist and Fauvism heritage. Their methods became her source of inspiration in how to work with color and the aesthetics of catching the “proper” moment. That led her to choose photography as the main medium in her art practice, because it gave her the possibility to work in the spheres that are interesting for her: urban landscape and street photography. Chinibekova researches the relationship between people and the city environment in her images. She is interested in the possibility to catch “the perfect” moment that would be similar to Barthes’ punctum, which often appears in the gap between movement and pause. The city environment appears to be the perfect space for her method. The variety of locations and characters in any metropolis allow her to unpack the local context as well as research the location from the point of view of a silent spectator. This method makes it possible for her to work with photography as an open form of art – each image is a space of free interpretation for the viewers. Pause series In her images, the photo artist often uses the aesthetics of a movie still that is torn out of the context. In advance, she also highlights the inexistence of clear borders in contemporary visual art, where a lot of things appear to be produced in the atmosphere of complete synthesis. This method allows her to work with the phenomenon of the open form, where everything is aimed at giving the viewer the freedom of interpretation. All of that can be clearly seen in her “Pause” (2025) series. There, Chinibekova is actively working with the liminality category. Her characters are put into the fictitious stillness – the border condition of the forced pause. Photography here is an instrument that helps to fixate the corridor of possibilities, which is left out of the image. This way, the viewer has no knowledge of what was before and will become after with the characters of the series. Such an approach creates a lyrical narrative of the city environment, where separate characters being weaved into one subject plot.
Mohammad Sorkhabi
Mohammad Sorkhabi was born in Mashhad-Iran in 1985. He has been engaged in portrait photography since 2013. Most of his artworks are inspired by Renascence and Baroque portrait paintings so he mostly uses the classical lighting techniques and pictorial editing of the works with a subtle expression-filled by emotions and poetic feelings that indicate social issues. Mood Photography is the style of Mohammad which makes the audience communicate with the poetic feeling of his art better. His portraits emphasizing on social issues through deep abstract feelings and delicate expressions in the eyes of his models. Awards: Fine Art's first reward in Canada Tirgan Festival-2015. Two artworks of him have been chosen for the final section and have been displayed in Malaysia-Kuala Lumpur portrait contest-2015. Also second and third place in beauty and portrait category and four honorable mention in Moscow photo awards(MIFA)-2015. Winning medal in Asahi Shimbun photo contest, Japan 2017 Mourning for the father War is defined as a long-term structured conflict involving the use of arms and weapons between nations, governments and different groups, which is associated with severe hostility, social disruption, and excessive financial loss and casualties. Today, we constantly witness such conflicts across the world, with the media spotlighting the loss of thousands of soldiers and death of civilians during wars. However, we are rarely informed on the survivors of wars and their destiny. What becomes of them? How does war influence the lives of those who have lost their loved ones? How do women mourn the deaths of their husbands, fathers, and brothers and cope with such grave tragedies? These contemplations have urged me to start a project in order to shed light on these events and reflect the grand suffering of war survivors only partly. My photographs have been inspired by the works of Renaissance painters, and this can be seen in the classical lighting techniques and pictorial editing of the works. In addition, the black veils on the models signify the spiritual aspect of the photographs, symbolizing the catharsis born out of a plethora of grief and agony.
Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. They traveled together until King's death in 1968, which upset Schulke so much that he stopped covering the civil rights movement and began to work on more commercial projects. In all, he took around 11,000 photographs of King, including some of his funeral. Schulke photographed Muhammad Ali, Jacques Cousteau, Fidel Castro and John F. Kennedy. He also was a photographer for the Environmental Protection Agency's Documerica program in the early 1970s. Schulke died on May 15, 2008 at age 77. The Dolph Briscoe Center for American History at the University of Texas at Austin holds 300,000 of his photographs. His photographs are also held in a variety of museums, including the Harvard Art Museums, the Cleveland Museum of Art, the National Museum of American History, the University of Michigan Museum of Art, the Minneapolis Institute of Art, and the Lehigh University Art Galleries.Source: Wikipedia My biggest problem with young photographers is that they don't think about context. They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
Joel Meyerowitz
United States
1938
Joel Meyerowitz is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries around the world. He was born in New York in 1938. He began photographing in 1962. He is a “street photographer” in the tradition of Henri Cartier-Bresson and Robert Frank, although he works exclusively in color. As an early advocate of color photography (mid-60s), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance. His first book, Cape Light, is considered a classic work of color photography and has sold more than 100,000 copies during its 30-year life. He is the author of 17 other books, including the newly released book by Aperture, Legacy: The Preservation of Wilderness in New York City Parks. In 1998 he produced and directed his first film, POP, an intimate diary of a three-week road trip he made with his son, Sasha, and his father, Hy. This odyssey has as its central character an unpredictable, street-wise and witty 87-year-old with a failing memory. It is both an open-eyed look at aging and a meditation on the significance of memory. Within a few days of the 9/11 attacks on the World Trade Center in New York, Meyerowitz began to create an archive of the destruction and recovery at Ground Zero and the immediate neighborhood. The World Trade Center Archive consists of over 8,000 images, and was created with the sponsorship of the Museum of the City of New York, to whom a set of digital files was donated for their archives and for exhibition. The Archive is an historic, photographic record of the immediate aftermath of the tragedy and the neighborhood as it evolved. The U.S. Department of State mounted 35 exhibitions of this work and they were shown around the globe from their inauguration by Colin Powell in Spring 2002 until 2005. Over 4 million people have seen these shows from Jerusalem to Islamabad, Rome, Paris, London, Kuwait, Moscow, Istanbul, and 200 other cities. Meyerowitz’s photographs from the World Trade Center Archives were also on view when he represented the United States at the 8th Venice Biennale for Architecture in 2002. Meyerowitz created a traveling exhibition of 117 vintage and modern prints entitled Out of the Ordinary 1970-1980, which premiered at the Jeu de paume in Paris, France. It has been exhibited at the Museum der Modern in Salzburg, Austria, and the Nederlands Fotomuseum in Rotterdam, the Netherlands, the Musee de la Photographie in Charleroi, Belgium and the Thessaloniki Museum of Photography in Thessaloniki, Greece Meyerowitz completed the ambitious project of documenting and creating an archive of New York City’s 29,000 acres of parkland. It is the first long-term visual documentation of NYC parks since the 1930’s when they were photographed as part of Franklin Roosevelt’s WPA program. Adrian Benepe, Commissioner of Parks and Recreation, has invited Meyerowitz to produce a comprehensive database for future use by the Parks department and to share these images of the parks with communities in all 5 boroughs. Legacy: The Preservation of Wilderness in New York City Parks was published by Aperture in the fall of 2009, accompanied by a large-scale exhibition of the same name at the Museum of the City of New York. Meyerowitz is a two-time Guggenheim fellow, a recipient of both the NEA and NEH awards, as well as a recipient of the Deutscher Fotobuchpreis. His work is in the collection of the Museum of Modern Art, the Boston Museum of Fine Arts and many others. Source: Wikipedia
Arthur Leipzig
United States
1918 | † 2014
Arthur Leipzig (October 25, 1918 – December 5, 2014) was an American photographer who specialized in street photography and was known for his photographs of New York City. Leipzig was born in Brooklyn. After sustaining a serious injury to his right hand while working at a glass wholesaler, Leipzig joined the Photo League where he studied photography, took part in Sid Grossman's Documentary Workshop, taught Advanced Technique classes for three years, and exhibited his work. From 1942 until 1946 he was a staff photographer for PM. He also studied under Paul Strand before quitting the League to pursue a career as a freelance photojournalist. In 1955 Leipzig's 1943 photograph King of the Hill, depicting two little boys challenging each other on a sand heap, was selected by Edward Steichen for the world-touring exhibition The Family of Man at the Museum of Modern Art in New York, that was seen by 9 million visitors. Leipzig was a professor of art and the director of photography at the CW Post Campus of Long Island University from 1968–1991. In an effort to build his department and enhance the quality of photographic techniques, Leipzig recruited two well-known photojournalists, Louis Stettner and Ken Johnson (formerly a photo editor with Black Star) to his staff. He also recruited the now, highly regarded female photographer, Christine Osinski. Leipzig contributed his work to many publications including Fortune, Look, Parade, and Natural History, while continuing to pursue his independent projects. In 2004, he won the Lucie Award for Outstanding Achievement in Fine Art Photography. Leipzig died in Sea Cliff, New York on December 5, 2014, aged 96.Source: Wikipedia Leipzig shot thousands of rolls of film over five decades, producing beautifully constructed yet socially powerful photographs that take a sincere look at street life. Among the most memorable are photo essays on children’s street games, city workers atop the Brooklyn Bridge, Coney Island, and V-Day. Leipzig candidly captured New York’s favorite personalities as Louis Prima, W.C. Handy and Mayor La Guardia. His assignment locales outside of New York City included Peru, Sudan, and the Sahara, as well as places closer to home like West Virginia, Kansas and Jones Beach. Acclaimed as a sensitive and impassioned documentary photographer, Arthur Leipzig has always directed his camera toward the human condition and his deep love of people, shooting in a straightforward fashion, never forcing the moment but rather allowing a human story to transform simply and spontaneously. As a result, his photographs depict the human community with great intimacy and dynamic energy.Source: Howard Greenberg Gallery Arthur Leipzig's photography is represented in the permanent collections of The Museum of Modern Art, The Brooklyn Museum, The National Portrait Gallery, The Jewish Museum, and The Bibliothèque nationale de France. His solo exhibitions include Arthur Leipzig: a World View at the Howard Greenberg Gallery, Growing Up in New York at the Museum of the City of New York, Jewish Life Around the World at the Nassau County Museum of Fine Art.Source: Jackson Fine Art
Sarah and Lucy Jenkins
Air Bare is an award-winning, visual art drone photography collaboration created in Port Douglas, Queensland in October 2020. They are the mother/daughter team of Sarah and Lucy Jenkins, with Sarah now living in Fremantle Australia, and Lucy in London UK. They collaborate frequently and draw on each other’s strengths to develop ideas to create and execute interesting perspectives and unique images from above. Sarah has Limb Girdle Muscular Dystrophy, diagnosed at age 30, and is now confined to a wheelchair. She has very little strength in her hands and arms, so a conventional camera is difficult to use. The drone, however, is operated with a remote control in her lap, and using just her thumbs and fingers she can fly it and take images. Lucy studied architecture at the University of Melbourne in 2015. She graduated in 2022 and was awarded the Bates Smart Medal Graduate Prize for Outstanding Design for her thesis 'Service Disruption'. She has worked for world-renowned architectural firm Foster + Partners in London since June 2023 and became fully qualified in September 2024. In November 2024, she became a member of the Royal Institute of British Architects (RIBA). Sarah and Lucy, who are both self-taught, won their first award at the Boston Drone Film Festival in March 2021. From there they went on to win Capture Magazine’s Australasia’s Top Emerging Photographer’s Awards ‘Single Shot’ category in May 2021. They have been acknowledged in Australia and internationally ever since. In 2022 they were invited to collaborate with the German publishing company teNeues for the book, ‘Minimalism in Photography’. They were one of 15 international minimalist photographers chosen, many being world acclaimed in their field. They held their first hugely successful solo exhibition at the Moores Gallery Art Space in Fremantle, Australia in February 2024. All About Photo Competitions AAP Magazine 56 Shadows
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