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Win the First Solo Exhibition of 2026! Submit your best project now. Open Theme
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Carolyn Moore
Carolyn Moore
Carolyn Moore

Carolyn Moore

Country: United States

Carolyn Moore is a fourth generation Californian, raised in a family of artists and outdoor enthusiasts. Her love of nature is evident in her artwork having spent much of her formative years hiking, swimming, backpacking and enjoying the vast diversity in nature. Equally adept at both music and art, her formal education fell to music. Degrees were completed at University of California Berkeley, University of Oslo and Conservatory of Music, Norway. After a fulfilling and successful career of performance and teaching of flute, percussion and special needs music, her focus since 2005 has turned to visual expression through photography.

Artistic inspiration came early in life when presented with paint brushes and a brownie box camera by her artist father at the age of 7. Mostly self taught, Carolyn has experimented with many photographic techniques - everything from digital, to film based using plastic or pinhole cameras and handmade or lensless processes.

Since 2007 Carolyn has received multiple photographic honors and awards and has been juried into several exhibits at the Soho Photo Gallery, New York. Carolyn has been published in Color Magazine and has participated in multiple solo and collective exhibits both in the United States and Europe. She is currently a member of the Center for Photographic Art and proudly serves as Steering Committee Chair for Image Makers Photographers of Monterey.

My Heart Exposed
Photography to me, represents a composite of my personal feelings, emotions, values and experiences expressed on a canvas. It is as if the artwork is an open window where artist and viewer peer one to the other in a silent exchange.

Images from “My Heart Exposed”, Volume 1, are created in a process that includes entering a meditative state where feelings, intuition and curiosity drive choices made in an experimental photographic process. This process lends an element of unpredictability, and as a result parameters are set for embracing surprises and allowing the image to evolve. The decisions I make are influenced by my innermost feelings and thus, each image presents a visually poetic reflection of my unique story.

My personal story is made all the more poignant by the recent loss of family and intense emotional turmoil of the past year. This chaotic and complicated year of love, loss and strife made maintaining a sense of self a major challenge. I am often reminded of time spent in nature with lost family members, and I cherish the thought of loved one’s hands guiding me in a shared love of nature and an expression that uses plants as an artistic voice. I invite viewers to draw on their own experiences and allow their hearts to embark on a journey of reflection and discovery within each image.

“My Heart Exposed”, Volume 1 are sunshine exposed Lumens with hand painted cyanotype on expired photographic paper. While developing this technique, I have experimented with different types of photographic paper, timing of exposure and elements that change the chemical reaction between plants and paper. Images evolve and change during the development process and I present captures of those stages in unaltered true color. While some images are fixed and will remain stable, others will continue to evolve and eventually dissipate altogether.
 

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More Great Photographers To Discover

Arlene Gottfried
United States
1950 | † 2017
Arlene Harriet Gottfried was a New York City street photographer who was known for recording the candid scenes of ordinary daily life in some of the city's less well-to-do neighborhoods; her work was not widely known until she was in her 50s. Born in Coney Island, she was the daughter of Lillian (Zimmerman), a homemaker, and Max Gottfried, who ran a hardware store with his own father, above which the family lived. Gottfried was the older sister of comedian and actor Gilbert Gottfried (1955–2022). When she was 9, Arlene moved to Crown Heights, where she became heavily influenced by the nearby, fast-growing Puerto Rican community. Later in the 70s, she moved with her Jewish immigrant family to the neighborhoods of Alphabet City and the Lower East Side. When Gottfried was a teenager, her father gave her an old 35 mm camera, which she eventually took to Woodstock, even though she said, "I had no clue what I was doing". She credited her upbringing for giving her the ability to get intimate photographs of strangers: "We lived in Coney Island, and that was always an exposure to all kinds of people, so I never had trouble walking up to people and asking them to take their picture." Gottfried graduated from the Fashion Institute of Technology taking photography courses. She worked as a photographer for an advertising agency before freelancing for publications such as The New York Times Magazine, Fortune, Life, the Village Voice, and The Independent (London). She was a habitué of Nuyorican Poets Café, a friend of Miguel Piñero, and on the Lower East Side sang gospel with the Eternal Light Community Singers. In 1991 while on assignment Gottfried photographed the Eternal Light Community Singers, eventually singing with them, as well. Gottfried also sang gospel with the Jerriese Johnson East Village Gospel Choir. In her later years, she published five books of her work: The Eternal Light (Dewi Lewis Publishing, 1999), Midnight (powerHouse 2003), Sometimes Overwhelming (2008), Bacalaitos and Fireworks (powerHouse 2011), and Mommie: Three Generations of Women (powerHouse 2015). Her photographs and archives have been exhibited at the Leica Gallery in New York and Tokyo, the Smithsonian Institution in Washington, D.C., the European House of Photography (MEP), the Brooklyn Museum of Art, and the New York Public Library. Gottfried died on August 8, 2017, from complications of breast cancer at her home in Manhattan at the age of 66 surrounded by friends and family.
Cayetano González
My grandparents met during their studies in the University of Fine Arts in Valencia. Most of my close relatives work in the field of visual arts. On my behalf, I've always wanted to be a painter, and was fascinated by many artists: Sorolla, Velázquez, Rembrandt, Delacroix... During High School I had the opportunity to work on a short film for one of the courses, I then realised I wanted to work in the film industry. In 2006 I started my adventure. I studied Film in Valencia, and afterwards worked as a freelancer in a television production company for a year. At that time everything we did was recorded on tapes, and the cinematography quality I was searching for was unattainable. Fortunately, my grandfather lent me his Leica and everything changed. I slowly began learning how to use different cameras and I knew I had found my calling. Before even realising it I was already working as a photographer. I knew (or at least I thought I knew) how to use a camera, but not what to express with it, I needed to expand my knowledge of Art and extend my perspective. I began my studies in Fine Arts, and it was one of the best decisions I have ever made. I still don't know the meaning of Art, fully, but I was able to learn what people could achieve thanks to having artistic values. During the last two years of my Arts studies I concentrated on Contemporary Art, Film and Photography. When I finished I wanted to specialise in Cinematography and decided to move to Barcelona to study a Masters in Cinematography in ESCAC (Superior School of Cinema of Catalonia). Since then I'm based in Barcelona and my work is focused mainly on Photography and Cinematography. I also teach workshops specialised in natural light and try to direct my work towards a more natural feel, creating atmospheres that recall the painters I've always admired. About Light In 2016, after years of studying arts and photography I decided I wanted to specialise in natural light. I wanted to learn everything I could about it, so I began to research and practice, studying from artists starting from the 15th century until today. This research evolved in a personal project called "aboutlight", shot with natural light, about beauty, femininity, loneliness, melancholy and any type of feeling you can transmit while in a state of calm. I'm currently teaching and learning constantly, improving and making others improve. It's this combination that's helping me grow and develop my skills day to day. Find out more in his exclusive interview
El Lissitzky
Russia
1890 | † 1941
Lazar Markovich Lissitzky, known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, established the Lissitzky Foundation in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.Source: Tate Margarita Tupitsyn included the essays by Ulrich Pohlmann and Mathew Drutt in her book Beyond the Abstract Cabinet (1999). This book was aimed at an audience with an interest in Russian photography and modernism. The essays in this book brought Lissitzky’s work to limelight. The essays mention various aspect of his work. From 1922 to 1925, Lissitzky experimented with photograph collage and photograms. While working on photograms, Lissitzky experimented with photomontage as well. He was able to achieve vibrant compositions using several printing exposures in order to utilize the effects of transparency. These experiments help him in many advertisements he produced starting from 1924 until 1925. Lissitzky was among the first avant-gardists to revive the photogram or cameraless photographic image, combining this technique with experiments in montage to generate fantastic portraits and design proposals. Largely using photography, Lissitzky also rethought the illustrated book as an architectural form, to be tabbed through, unfolded in all directions, and made into a fully three-dimensional object. These many ideas were deployed in the service of artists and arts organizations, as well as, above all, institutions of the Soviet state, on whose behalf Lissitzky was committed to “influencing the human psyche” collectively and in the public realm. He survived the reversals of fortune suffered by so many politically committed artists in the 1930s but had chronically poor health and died of tuberculosis.Source: The Art Institute of Chicago
Eadweard Muybridge
United Kingdom
1830 | † 1904
Eadweard James Muybridge was an English photographer important for his pioneering work in photographic studies of motion and in motion-picture projection. He adopted the name Eadweard Muybridge, believing it to be the original Anglo-Saxon form of his name. He immigrated to the United States as a young man but remained obscure until 1868, when his large photographs of Yosemite Valley, California, made him world famous. Muybridge is known for his pioneering work on animal locomotion in 1877 and 1878, which used multiple cameras to capture motion in stop-action photographs, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip used in cinematography. In his earlier years in San Francisco, Muybridge had become known for his landscape photography, particularly of the Yosemite Valley. He also photographed the Tlingit people in Alaska, and was commissioned by the United States Army to photograph the Modoc War in 1873. In 1874 he shot and killed Major Harry Larkyns, his wife's lover, and was acquitted in a jury trial on the grounds of justifiable homicide. He travelled for more than a year in Central America on a photographic expedition in 1875. In the 1880s, Muybridge entered a very productive period at the University of Pennsylvania in Philadelphia, producing over 100,000 images of animals and humans in motion, capturing what the human eye could not distinguish as separate movements. He spent much of his later years giving public lectures and demonstrations of his photography and early motion picture sequences. He also edited and published compilations of his work, which greatly influenced visual artists and the developing fields of scientific and industrial photography. Source: Wikipedia
Evelyn Bencicova
Slovakia
1992
Evelyn Bencicova is a visual creative specialising in photography and art direction. Informed by her background in fine art and new media studies (University for Applied Arts, Vienna), Evelyn's practice combines her interest in contemporary culture with academic research to create a unique aesthetic space in which the conceptual meets the visual. Evelyn's work is never quite what first appears to be. Her photographs depict meticulously-controlled compositions characterised by an aesthetic sterility, tinged with poetic undertones of timeless desire and longing. Evelyn constructs compelling narrative scenarios that blur the lines between reality, memory and imagination — "fictions based on truth". Depicting multifaceted representations as illusions, Evelyn plays with the viewer's perception to entice them into the secret labyrinth of her imagination. Her disturbingly beautiful visual language and washed-out colour palette, set within curiously symbolic environments, allow for a deep exploration of the themes that take her images far beyond what they reveal at first glance. Evelyn's client repertoire includes fashion and luxury brands such as Gucci, Cartier and Nehera, as well as cultural institutions such as Frieze, Berghain, Kunsthalle Basel, Royal Opera House, Slovak National Theatre and Ballet and Museums Quartier Vienna. In 2018, Bencicova was invited to create visuals for the Institute of Molecular Biology in Austria, and to perform at the closing ceremony for Atonal Berlin. Evelyn's commercial and artistic projects have been featured in the likes of Vogue Portugal, Vogue Czechoslovakia, ZEIT Magazine, ELLE, Dazed & Confused, GUP, HANT and Metal Magazine. Her work has been published in prestigious international photography books and on several online platforms (Juxtapoz, iGNANT.com, Fubiz media) and she has participated in solo and group exhibitions across Stockholm, London, Tokyo, Paris, Berlin, Vienna, Milan, Amsterdam, Brussels, Prague and Rome to mention few. In 2016, Bencicova received the prestigious Hasselblad Masters and Broncolor GenNext awards. She was shortlisted and awarded by Taylor Wessing Photographic Portrait Prize, LensCulture, Independent Photographer, Gomma Grant, Life Framer, Photo IS:RAEL, Young Guns 17, Tokyo International Photo Award and Photo Vogue and OFF Festival. Her fashion film "Asymptote" (2016), co-created with Adam Csoka Keller, received the "Best New Fashion Film" award at the Fashion Film Festival Milano 2017, and was featured at SHOWstudio Fashion Film Awards, the Austrian American Short Film Festival and at Diane Pernet's A Shaded View on Fashion. Evelyn was selected as one of 30 under 30 Female photographers by Artpil.
Humberto Ybarra
Humberto Ybarra, born in Seville and now based in El Puerto de Santa María (Cádiz), is a self-taught Spanish photographer whose quiet, evocative landscapes have become his signature. He began his photographic journey in the late 1990s, but it wasn't until 2010 that he fully embraced photography as a passion. Over the years, Ybarra explored a range of genres—from portraiture and still life to conceptual work—but it was in 2018 that he discovered his distinctive voice: minimalist landscapes rooted in the farmlands of southern Spain. His compositions are imbued with solitude, mystery, and a lyrical calm that borders on the metaphysical. Often featuring a single object—an isolated tree, a whitewashed farmhouse, a stretch of scorched earth—his images celebrate the poetry of the everyday and the quiet resonance of overlooked places. Inspired by his lifelong love of painting, Ybarra’s photographs have often been described as “pictorial” or even “cinematographic.” Critics draw parallels between his work and the poetry of Antonio Machado, pointing to a shared sensitivity to landscape, memory, and the silent passage of time. Gallery owner Eugenia Alcázar describes his work as revealing “a loneliness that pierces the bones,” while art critic Bea Maeztu sees in his images “a personal interpretation of nature… a lyrical solitude that departs from realism to insert a magical touch of dreaminess.” His photographs do not document; they suggest, evoke, and invite reflection. As journalist Álvaro Sánchez León writes, “Ybarra transforms everyday farmlands into a powerful magnet for eyes thirsty for discreet, extraordinary beauty… His work speaks of heat, mystery, and eloquent silence.” Ybarra’s images have been exhibited in Seville, El Puerto de Santa María, Gaucín, Barcelona, and Madrid. Whether capturing the golden desolation of a wheat field or the humble elegance of a dry thistle, he offers us not just landscapes, but inner worlds—meditative, timeless, and deeply rooted in the Andalusian soul. Awarded Photographer of the Week - Week 27
Robert and Shana ParkeHarrison
Robert ParkeHarrison (born 1968) is a photographer, best known for his work (with wife Shana ParkeHarrison) in the area of fine art photography. The photographs of Robert and Shana ParkeHarrison have been displayed in 18 solo exhibitions and over 30 group shows worldwide. Their work can also be found in over 20 collections, including the National Museum of American Art at the Smithsonian Institution and the George Eastman House. Their book, The Architect’s Brother was named as one of 'the Ten Best Photography Books of the Year' of 2000 by the New York Times. "My photographs tell stories of loss, human struggle, and personal exploration within landscapes scarred by technology and over-use…. strive to metaphorically and poetically link laborious actions, idiosyncratic rituals and strangely crude machines into tales about our modern experience." -- Robert ParkeHarrison Source: Wikipedia Artist Statement: We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology's failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand. Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations—this work attempts to provide powerful impact both visually and viscerally. Source: parkeharrison.com
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AAP Magazine #54 Nature
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