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Isabel Mombaerts
Isabel Mombaerts
Isabel Mombaerts

Isabel Mombaerts

Country: Belgium
Birth: 1980

Isabel Mombaerts is a Belgian photographer and dedicated school educator, whose lifelong commitment to the arts is woven through almost every aspect of her life. From her earliest studies to her current work, art has remained her compass, honing her unique photographic voice and securing several awards along the way. These accolades underscore her deep passion for capturing the world’s beauty and complexity with honesty and insight.

In the classroom, Isabel instills this vision in her students, encouraging them to approach the world with curiosity and an open mind. Her photography reveals life’s raw spontaneity, whether through the dynamic energy of street scenes, the layered narratives of documentary work, or the intimacy of portraiture. By stepping back as a silent observer, she allows her subjects to express their truest selves, creating images that resonate with the profound and timeless connections among people. Through each portrait, she bridges herself to her subjects, crafting powerful, soulful snapshots that capture the intricate, quiet moments that define what it means to be human.

Statement
The most thrilling aspect of photographing humans is the unpredictability. It’s about capturing the gift that emerges when you’re truly observing

Websites

www.isabelmombaerts.com

@isa.nvers.photography

 

Inspiring Portfolios

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More Great Photographers To Discover

Anatole Bolkov
Anatole Bolkov
Russia
1970
Anatole Bolkov is a street and portreture photographer based in Moscow whose work explores the hidden poetry of ordinary people and everyday life. With a keen eye for the ambiguous and the ephemeral, he captures the quiet chaos of urban existence, revealing the unseen narratives woven into the fabric of public spaces. His photography blurs the line between reality and perception, transforming ordinary moments into enigmatic visual stories. Statement: My photographic work revolves around human presence—not always obvious, but often hinted at through shadows, fleeting reflections, and transient encounters. I'm fascinated by the ambiguous—the half-glimpsed, the vaguely familiar, the eerily uncanny. I strive to reimagine the ordinary by framing it through a shifted perspective. My images move between color and monochrome, analogue and digital - each choice dictated by the emotional resonance I want to evoke. This interplay between clarity and mystery lies at the heart of my visual language. Awarded Photographer of the Week - Week 25
Jay Maisel
Jay Maisel
United States
1931
Having studied painting and graphic design at Cooper Union and Yale, Jay Maisel embarked on his photographic career in 1954. While he boasts an impressive portfolio that includes iconic figures like Marilyn Monroe and Miles Davis, Maisel is renowned for his ability to capture the essence of light, color, and gesture in ordinary life. Among his noteworthy commercial achievements are five Sports Illustrated swimsuit covers, the inaugural two covers of New York Magazine, the cover of Miles Davis' Kind of Blue (the highest-selling jazz album of all time), twelve years of advertising collaboration with United Technologies, and accolades from esteemed organizations such as the International Center for Photography, American Society of Media Photographers, Art Directors Club, Professional Photographers of America, and The Cooper Union. Although he ceased commercial work in the late '90s, Jay has persistently dedicated himself to personal projects. His reputation as a generous and inspiring teacher has grown through extensive lectures and photography workshops across the country. Additionally, he continues to make prints available, which can be found in private, corporate, and museum collections. As people, we love pattern. But interrupted pattern is more interesting. – Jay Maisel Since he stopped taking on commercial work in 1995, Jay has continued to focus on his personal work. He has developed a reputation as a giving and inspiring teacher as a result of extensive lecturing and photography workshops throughout the country. He also hosted his own workshops at his residence at 190 Bowery in New York City, from 2008-2015, instructing more than 640 students over the eight-year period. In 2015, Jay sold his famous six-story building where he lived and worked for 50 years. Stephen Wilkes documented Jay’s epic move out of “the Bank” that was released as a feature-length film, Jay Myself, in the summer of 2019. Since 2015, Jay has committed himself to reviewing his last sixty years of shooting. The results can be seen on his website, jaymaisel.com. Jay continues to sell prints of his photographs, many of which can be found in private, corporate, and museum collections.Source: International Photography Hall of Fame and Museum
Keith Carter
Keith Carter
United States
1948
Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and meaningful objects. He began photographing new and unknown realities in his native East Texas environment. This setting, with heavy folklore, religious, and cultural motifs, inspired Carter to create some of his most iconic images. Since his start in Texas, his work continues to push imaginative realms in his travels within the United States and across oceans. In 1970, Carter earned a Business Management degree from Lamar University and began his career as a commercial photographer while working on personal projects. These personal projects have resulted in a long career and over twelve published monographs. Carter currently teaches photography at Lamar University as a Distinguished Faculty Lecturer. He travels worldwide providing photography lectures and workshops for artists. Carter's fine art career has made him the recipient of an array of awards such as the 2009 Texas Medal of Arts, 2009 Artist of the Year presented by the Art League Houston and, in 1991 the Center for Documentary Studies at Duke University presented Carter with the Lange-Taylor Prize. His work has also been featured in print and online publications, television, and film. In 2006, the Anthropy Arts in New York filmed a documentary about Carter's photographic work, and in 1997 CBS made an art segment on Carter's work for public television. He has extensively exhibited his work throughout the world and participated in over 100 solo exhibitions. Permanent collections of his work can be found in many private and public institutions including the San Francisco Museum of Modern Art, the George Eastman House, the Museum of Fine Arts, Houston, Dallas Museum of Art, the Amon Carter Museum of American Art, the Smithsonian American Art Museum, and the Art Institute of Chicago.
Saul Bromberger
Saul Bromberger
Israel/United States
1957
Saul was born in Israel in 1957 and emigrated to America with his family when he was 9-years old, and learned about the American culture and way of life through his work as a newspaper photographer. He has worked with his wife Sandra Hoover as a photography team for 35+ years. Throughout their years of working together they have produced documentary and personal projects with the first one being their 7-year photo essay project 'Pride - Hearts of the Movement: The San Francisco Gay & Lesbian Freedom Day Parade: 1984-1990,' when the LGBTQ community was marching for its civil rights and uniting in fighting the horror of AIDS. Their other documentary photo essays include 'House of Angels-Living with AIDS at the Bailey-Boushay House: 1992-1995, 1997,' about the lives of people in their last months of life at the first AIDS hospice in America in Seattle, WA., scenes of daily life in American communities with 'Our American Portraits: 1978-2006,' and are currently working on an ongoing project about the men and women who are long term HIV survivors with 'Portrait of the AIDS Generation.' They've had solo exhibits at PhotoCentral Gallery in Hayward, CA., and at Moorpark College, CA., and been part of numerous group shows in galleries that include the Harvey Milk Photo Center in San Francisco, CA. Their work is currently being archived by the Dolph Briscoe Center of American History, at the University of Texas in Austin, TX., and starting on 9.14.2021, they will be represented by ffoto.com in Toronto, Canada. American Portraits: 1978-2006 Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me. Over the 28 years of this documentary project, from 1978-2006, this is what drove me to create a portrait of America that I had observed as an outsider, because of my experiences as an immigrant where I never really fit into American society. I was born in Israel in 1957, immigrated to America as a 9-year-old with my family in 1967, and as a teenager I helped my parents run our restaurant, while in high school I barely said a word in 4-years. It was through photography then that I found myself, as I discovered over time that I could connect with people, reveal my personality, express my opinion, interpret what I saw and felt, and be recognized and honored for my way of seeing. Starting in the late 1970's, I found myself gravitating to scenes that pulsated with American themes and values. I had become a photo-journalist working for several newspaper photography staffs in California and Washington State, and oftentimes during my assignments I also captured these scenes in social gatherings, parades, business events, political receptions, at county fairs, and much more, scenes that excited me for how they captured an America that I was beginning to understand. Scenes where many people, often white and wealthy, have a life of excess and privilege, while many other people struggle just to survive. People who live in small rural towns and in the larger cities, each group with its own pace of life and traditions, with American values that are vastly different from one another. An America that I found fascinating and perplexing, that I was documenting from an outsider's point of view. Solo Exhibition September 2021 American Portraits: 1978-2006
Joris Hermans
Joris Hermans
Belgium
1983
Joris Hermans is a freelance documentary and travel photographer based in Belgium. In February of 2018, after winning a Nikon Press Photo Award in his country, he decided to leave his home behind and travel the world indefinitely. He tries to capture countries and people inbox ways no traveler does and documents everything on THE WORLD AHEAD OF US. He's still accepting freelance assignments. Joris' work has been featured on LifeFramer, Don't Take Pictures, PDN, Booooooom, Aint-Bad Magazine, Positive Magazine, GUP Magazine and Fotoroom Magazine. He was a finalist for the Renaissance Photography Prize and selected for the Kontinent Awards. He was a category winner of PDN World in Focus in 2015 and Nikon Press Photo Awards in 2016/2017. People Being pretty disappointed by today's travel photography, I decided to try and make a change. For me, traveling is not about selfies and "Instagrammable" places but about the people, stories and experiences. People make a country interesting and since I left to travel indefinitely more than one year ago, I've been focusing on the people in every country. Regular people I meet and who share me their story or with whom I have a quick chat in the streets are the stars in my portrait photos. it doesn't matter. They're all special. I try to take my medium format camera everywhere I go because I know an interesting person might pop up any where, any time. I hope one day, I can create a book with all these interesting faces and their stories. This is Varanasi In 2018, I spent two months traveling across India. It's become one of my favourite countries in the world. The history, culture and people inspired me every day I was there. Then, I arrived in Varanasi and it was the highlight of my time in India. Varanasi or Benares is the Holy Grail of India according to many travelers. It's one of the oldest cities in the world sitting on the banks of the river Ganges and that's exactly why it's so important to Indians. Everybody wants to die in Varanasi and/or be cremated on the banks of the holy river. After the cremation, the ashes are being sprinkled in the river and that's when the deceased reaches Nirvana. From all over India people travel to Varanasi; to die or to bring the dead, sometimes even with the corpse on ice in the trunk of a car... Life and death are not that far apart in India... The Ghats that lead up to the river is what I wanted to see. That's where the locals are and where they play cards and cricket or just relax in the evening. And that's exactly what we did too every evening when the sun started to set; just relax at the ghats of Varanasi. The light turned into a magical glow again like everywhere in India went the sun goes down and as a photographer it's an awesome few hours to be out...
Carl Mydans
Carl Mydans
United States
1907 | † 2004
Carl Mydans was an American photographer who worked for the Farm Security Administration and Life magazine. Mydans grew up playing on the Mystic River near Medford, near Boston, Massachusetts. His father was an oboist. Mydans became devoted to photography while in college at Boston University. While working on the Boston University News he abandoned childhood dreams of being a surgeon or a boat builder in favor of journalism. His first reporting jobs were for The Boston Globe and the Boston Herald. After college, he went to New York as a writer for American Banker and then in 1935 to Washington to join a group of photographers in the Farm Security Administration. There he worked with other photographers like Dorothea Lange and Ben Shahn to document the conditions of the American rural workers. In 1935, he traveled throughout New England and America's South, documenting the end of a rural-based economy, and gained a measure of renown for his images of bedraggled Arkansas farmers and their families. It was the Great Depression, and the poorest of America's poor were devastated by the economic downturn. "One picture, of a Tennessee family living in a hut built on an abandoned truck chassis, portrays the misery of the times," noted Mydans' Times of London obituary, "as starkly as any photographs by his more celebrated contemporaries." In 1936, he joined Life as one of its earliest staff photographers (Alfred Eisenstaedt, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole were the original staff photographers) and a pioneering photojournalist. Mydans recorded photographic images of life and death throughout Europe and Asia during World War II traveling over 45,000 miles (72,000 km). In 1941, the photographer and Shelley Mydans were the first husband and wife team on the magazine's staff. Shelley and Carl were captured by the invading Japanese forces in the Philippines and interned for nearly a year in Manila, then for another year in Shanghai, China, before they were released as part of a prisoner-of-war exchange in December 1943. After their release, Mydans was sent back into Europe for pivotal battles in Italy and France. By 1944, Mydans was back in the Philippines to cover MacArthur's return. Mydans snapped the moment when General Douglas MacArthur purposefully strode ashore in the Philippines in 1945, The legendary officer had declared, when the Japanese came in 1942, "I shall return," and Mydans' photograph of the formidable general immortalized that claim for posterity. Some asserted that it must have been staged, but Mydans resolutely defended the photograph as entirely spontaneous, though he did admit that MacArthur was savvy about public-relations opportunities. The general had appeared in Mydans' other memorable image from that assignment, watching with other top U.S. brass as a Japanese delegation signed the official documents of surrender on an early September day in 1945. "No one I have ever known in public life had a better understanding of the drama and power of a picture," Mydans, said about MacArthur. Mydans also captured the signing of Japan's surrender aboard the U.S.S. Missouri. Some of Mydans's other famous pictures include the bombing of Chongqing, angry French citizens shaving the heads of women accused of sleeping with Germans during the occupation in 1944; a roomful of excited royal youngsters and their staid older relatives in 1954; and a 1950 portrait of Douglas MacArthur smoking a pipe. But he also photographed the war from the viewpoint of the ordinary soldier or sailor. "Resourceful and unruffled, Mr. Mydans sent back pictures of combat that even now define how some remember World War II, Korea, and other conflicts," noted The New York Times. Despite his two years in captivity, Mydans bore no ill will toward the Asian nation, and accepted an assignment to head Time-Life's Tokyo bureau with his wife. Time-Life was the publisher of Time, Life and other top magazines, which Mydans continued to provide with an array of visual stories. In 1948, he just happened to be in the city of Fukui when a destructive earthquake struck; some of his shots were taken on the street while buildings were collapsing around him. After covering the Korean War, Mydans traveled the globe for the next two decades for Life before the publication folded in 1972. When it was relaunched several years later, he was still listed as one of its contributing photographers. He died on August 16, 2004, of heart failure at his home in Larchmont, New York, at the age of 97. Widowed in 2002, Mydans was survived by his daughter, Misty, a California attorney; and his son, Seth, Asia correspondent for The New York Times.Source: Wikipedia Having started out as a newspaper reporter, Carl Mydans switched over to the camera and at the height of the Depression worked for the Farm Security Administration, documenting the travails of migrant farm families. After signing on with LIFE, he and his wife, Shelley, became the magazine’s first roaming photographer-reporter team. In 1941 they were sent to China to cover Japanese bombing raids there; late in the year they were trapped in Manila when the Japanese overran the Philippines, and they were held captive for nearly two years before being repatriated in a POW exchange. When the prison camp was about to be liberated, Douglas MacArthur sent Mydans in with the first tanks. Of course, Mydans’s picture of MacArthur “returning” to the Philippines is one of history’s most celebrated photographic images. Mydans was known also for his intriguing portraits of such as Pound and Faulkner. In the words of David Hume Kennerly, “Carl Mydans is a photographer’s photographer and a human’s human.” In the prison camp at Santo Tomas in the Philippines, said Shelley Mydans, “they didn’t feed us, so we were very hungry, and we were sick sometimes.” Rogers and Todd, at right, were among the three dozen men with whom Carl shared a room at the prison. Between them, the duo lost 131 pounds during their four years of internment.Source: LIFE
Lucien Clergue
Lucien Clergue
France
1934 | † 2014
Lucien Clergue was born in Arles. From the age of 7, he learned to play the violin. Several years later, his teacher revealed to him that he had nothing more to teach him. From a family of shopkeepers, he could not pursue further studies in a conservatory. In 1949, he learned the rudiments of photography. Four years later, at a corrida in Arles, he showed his photographs to Pablo Picasso who, though subdued, demanded to see others. Within a year and a half, young Clergue worked with the goal of sending photos to Picasso. During this period, he worked on a series of photographs of traveling entertainers, acrobats and harlequins, the Saltimbanques. He also worked on a series whose subject was carrion. On 4 November 1955, Lucien Clergue visited Picasso in Cannes. Their friendship lasted near 30 years until the death of the Master. The book, Picasso my Friend retraces the important moments of their relation. Clergue has taken many photographs of the gypsies of southern France, and he was instrumental in propelling the guitarist Manitas de Plata to fame. In 1968 he founded, along with his friend Michel Tournier the Rencontres d’Arles photography festival which is held in Arles in July. His works was presented during the festival from 1971–1973, 1975, 1979, 1982–1986, 1989, 1991, 1993, 1994, 2000, 2003, 2007. Clergue has illustrated books, among these a book by writer Yves Navarre. Clergue’s photographs are in the collections of numerous well-known museums and private collectors. His photographs have been exhibited in over 100 solo exhibitions worldwide, with noted exhibitions such as 1961, Museum of Modern Art New York, the last exhibition organized by Edward Steichen with Lucien Clergue, Bill Brandt and Yasuhiro Ishimoto. Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts, Boston. His photographs of Jean Cocteau are on permanent display at the Jean Cocteau Museum in Menton, France. In the US, the exhibition of photographs of Jean Cocteau was premiered by Westwood Gallery, New York City. In 2007, the city of Arles honored Lucien Clergue and dedicated a retrospective collection of 360 his photographs dating from 1953 to 2007. He also received the 2007 Lucie Award. He is named knight of the Légion d'honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on 31 May 2006, on the creation of a new section dedicated to photography. Clergue is the first photographer to enter the Academy to a seat devoted to photography.Source: Wikipedia (…) Until I saw Picasso…I lived in the most perfect solitude and did my work without thinking of anything beyond that. After seeing Picasso and being received by him in Cannes when he repeated: “I’ve never seen anything like it, I’ve never seen anything like it”, I thought, or rather I let myself be convinced that despite my 21 years the time had perhaps come to begin showing my work. -- Correspondence Jean Cocteau, Lucien Clergue Lucien Clergue frequented Pablo Picasso for twenty years, being received on numerous occasions at his villa the California, in Cannes and at Notre-Dame-de-Vie in Mougins where he made his last portrait of the artist in 1971, two years before his death. Picasso, enthusiastic about Clergue’s images of dead animals and the circus children, considered him to be a greater photographer than Henri Cartier Bresson, and complimented him by saying: Clergue’s photographs are the good Lord’s sketchbooks! Or again was quoted in one of Cocteau’s lettres to Clergue, dated 1956: Picasso told me… his complete admiration for your series Stomachs. “You could, he said, sign Renoir”. Thanks to Picasso, the young photographer was able to meet not only Jean Cocteau, but also the historian and art collector Douglas Cooper, who opened up his extraordinary collection of books and artworks to the young man, avid for visual stimulation. Picasso’s generosity to Clergue and his admiration for the work of the budding photographer resulted in many collaborations, notably Picasso’s illustration for the cover of Corps mémorable in 1957, where Clergue’s images accompanied Paul Eluard’s poems; or again, the poster for Clergue’s first exhibition in Cologne in 1958 and then the cover for the book Poesie der Photographie in 1960.Source: lucien-clergue.com
Yanitsa Genova
Yanitsa Genova
Bulgaria
1984
Yanitsa Genova is a photographer, born in 1994 and raised in Bulgaria. The distance and time traveled open the doors to a world hidden within her. Huge and colorful, but often black and white. Filled with feelings and questions. And with constant quiet gratitude to everyone and everything. She questions the dogmas associated with “automated” photography and encourages slow art, contemplation, truth, and the origins of our reality. AAP Magazine: AAP Magazine 49: B&W
Ave Pildas
Ave Pildas
United States
1939
Thank God I had a really good education. - Ave Pildas Ave Pildas began his arts education as an architecture student, designing department stores, government and medical buildings. Before long, this path felt too conservative and constricting, so he changed majors to design. Creating products, packaging and graphics provided enough diversity, to seem like "complete freedom" at the time. Concurrently, Ave was designing exhibits, displays, graphics and publications for the Cincinnati Public Library. After studying at the University of Cincinnati and graduating from the Cincinnati Art Academy inn 1962, Ave headed east to Pittsburgh, where he worked designing collateral for U.S. Steel, Alcoa, Pittsburgh Plate Glass, Koppers, and Westinghouse. At Westinghouse he met renowned graphic designer Paul Rand. With encouragement from Rand and well-known typographer Noel Martin, Ave traveled to Switzerland and enrolled at the Kunstgewerbeshule, studying typography and graphic design during the Cold War. As a student, he visited every country in Europe and parts of North Africa, often by car. It was at this time that Ave set the lofty goal of "raising the visual conscience" of the world, and, at the conclusion of his studies, accepted a position as assistant professor at Philadelphia College of Art, now the University of the Arts in Philadelphia. Since then, he has taught at Layton School of Art, Leicester Polytechnic in Britain, Cal Arts, Art Center College of Design, UCLA, USC, as well as Otis College of Art and Design, where he served as Chair of the Communication Arts Department. He is currently Professor Emeritus at Otis. "Although Pildas was formally trained in Swiss design, he developed an early love for photography in the '60s when he photographed jazz legends like Thelonious Monk, John Coltrane and Dizzy Gillespie for Downbeat Magazine," writes Mae Ryan of Southern California Public Radio/KPCC. For over 50 years, Ave's been taking pictures of diverse subject matter. Many of his images of Hollywood Boulevard from the 1970s reside in the permanent collections of museums and libraries including LACMA and the New York Public Library. He has published three books: Art Deco LA, Movie Palaces, and Bijou, which was released in December 2016 by Nazraeli Press. Ave Pildas provides a fascinating glimpse into how, over the span of four decades, the streets and people of Hollywood Boulevard have both changed and remained curiously the same, writes Haley Evans for Beautiful Decay Magazine. In the studio, Ave is working on a still-life series based on circles, squares, and triangles, substituting geometric objects like pyramids, cubes, and spheres for the typical vase of flowers or table setting. Outside the studio, Ave shoots "Paper Movies". These collages of multiple images are shot in public spaces and allow him to interact with passers by, encouraging them to participate with the photographer and the background. After collecting hundreds of photos, he edits them to tell a visual story, combining them into a single piece. He is also producing short, stop-action videos using still images from "Paper Movies" to promote the series. One of the videos, "Stairway to Heaven," assembled from images of a staircase at The Getty Museum, garnered 40,000 views in a week. Galleries Joseph Bellows Gallery Richard Moore Photographs Tufenkian Fine Arts Rock Photography Museum Small Books & Small Prints
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AAP Magazine #54 Nature
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