Martin Schoeller

Martin Schoeller: 1995-2019

Martin Schoeller: Portraits

Identical

Survivors: Faces of Life after the Holocaust

Selected Books

Martin Schoeller

Martin Schoeller: 1995-2019

Martin Schoeller

Martin Schoeller: Portraits

Martin Schoeller

Inspiring Portfolios

Marjolein Martinot

Jackson Patterson

Nanda Hagenaars

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More Great Photographers To Discover

Jesús Umbría Brito

Spain
1971

Jesús Umbría Brito is a photographer whose gaze not only observes, but also engages in dialogue with both the world and the passage of time. He has completed PHotoESPAÑA’s Master of Photographic Projects Program, as well as training in narrative and in the photobook discipline with Ricardo Cases. His work has been exhibited in major galleries, including the Bondi Pavilion in Sydney, House of Lucie in Athens, the Lúcio Craveiro da Silva Library in Braga, and the Royal Botanical Gardens of Madrid. He has been a finalist in awards, such as the Gomma Grant, Head On, ReFocus, Analog Sparks, and the Enaire Foundation Photography Awards. He was recently invited to participate in 2025 Chico Review. STATEMENT: The photographer's gaze often deals with the legacy of the past, constantly returning us to the present as the only place from which we can examine history and relive it. Some of the most powerful images of the 20th and 21st centuries emerged from the clash between gaze and otherness, in that interstitial space of encounter between the photographer and the communities that inhabit the margins. Retaguardia is part of that more underground tradition, establishing a stylistic bridge with the work of other photographers such as Bruce Davidson, Larry Clark and Mary Ellen Mark. Like them, the author asks himself: What does it mean to inhabit a subculture? How are identities forged on the edges of the norm? What is the role of photography in representing those who live outside the spotlight? Retaguardia is a photographic project that dwells in the edges of mass society, in the periphery of the normative, in its penumbra. Far removed from dogma and convention, it unfolds a portrait of post-pandemic youth identified with the counterculture surrounding punk music and aesthetics: a mosaic of faces and expressions that seek each other in the mirror of the past to shape their present. From there, the author weaves a dialogue between times and generations. This exercise in memory and exploration becomes a testimony, an act of resistance against oblivion. On the one hand, the author revisits his own memory, three decades ago, when he went through these very spaces of transgression and belonging. On the other, he immerses himself in the present, where new generations rewrite history, adopting yesterday's dilemmas and facing their own. Young people who wear nostalgia like a second skin, who dance to the rhythm of inherited sounds, reconstructing with their own pulse the aesthetics and ideals of times that still resonate in their bodies. In this back-and-forth, the images emerge as witnesses to an immutable life cycle: that of youth seeking its mark on the margins, in the rearguard of dogma and norms. Through portraiture, the artist not only documents, but also questions. He explores identity as a constellation of signs and gestures, the need for belonging as an unbreakable drive, and social transversality as a contested territory. His camera is not a mere observer, but an active accomplice of those who find their place in what is different. The gaze —of the artist, the subject, and the spectator—unfolds as a narrative resource, a temporal bridge connecting generations. It acts as that contact zone that calls us from the past and seeks answers in the present. In this way, the exchange of gazes activates the dialogue between the observer and the observed, engaging us emotionally, blurring the boundaries between time and space, subject and spectator.

Matthew Hardy-Brown

South Africa
2000

Matthew Hardy-Brown's artistry unveils the enchanting beauty of our world, reminding us of the untamed wonder that surrounds us. With every click, he captures fleeting moments of unscripted time. His work is a testament to the natural wonder surrounding daily life. Originally from South Africa, Matthew Hardy-Brown's creative roots were planted in the landscapes of Australia, upon his relocation at 10 years old. While he didn't grow up by the ocean, it was here that he found his poetic sanctuary. As a self-described introvert, Matthew Hardy-Brown sought refuge by the water's edge, discovering his voice through the lens of his camera. He values unfiltered moments, intentionally avoiding excessive editing and digital manipulation. To MHB, magic ignites through authenticity—a commitment he fiercely upholds. At the core of Matthew Hardy-Brown's ethos lies a resounding mantra: "Live Often, Smile More." Having personally confronted the harsh realities of life's unpredictability, he gained a profound insight: tomorrow is not promised. Fuelled by this understanding, he is on a mission to share the world's inherent beauty, to inspire others that it's never too late to pursue a passion, to be a good human, and ultimately, to live often and smile more. His passion for capturing life's grandeur has earned him collaborations with industry giants such as Ralph Lauren, Mini Cooper, Paramount Pictures, and GoPro. His proudest achievement earned him the national exclusive as Canon’s premier artist with his timeless images featured throughout stores across Australia. Statement: Matthew explores the delicate dance between the wild and the human spirit, capturing moments that transcend the ordinary. Through a lens finely tuned to the nuances of the natural world, these pieces invite viewers to immerse themselves in the rhythmic chaos of crashing waves, the fearless dance of surfers, and the subtle interplay of light and shadow on the water's surface.

Marco Di Marco

Italy
1987

Marco Di Marco is a Sicilian visual journalist and photographer based in Reykjavík, Iceland. He began documenting the eruptions of Mount Etna in 2011 for local news agencies and has been interested in the dialogue between people and active volcanoes ever since. After relocating to Iceland in 2018, he started working as a freelance contributor for The Associated Press, covering volcanic eruptions and other major events on the island. With an academic background in geology and volcanology from the University of Catania and years of fieldwork on Etna and in Iceland, he combines scientific understanding with a reporter’s eye to build clear visual stories about life on unstable areas. Artist Statement: I photograph volcanoes and the landscapes and communities shaped by them. I did not move to Iceland only for the views. What keeps me here is the feeling that the ground is still a work in progress. Eruptions, gas and road closures are part of the daily routine, not only big news moments. My background is in earth sciences and guiding, so I tend to think about how a place works before I think about how it looks in a frame. I often visit the same locations many times, before, during and after an eruption. Some days I work for news outlets, other days I work slowly on long term projects or with small groups of photographers. The approach is similar. I try to show what it is like to live with a landscape that can change fast, instead of treating nature as a distant spectacle. In the end, my pictures are a mix of documentation and personal experience. They are about an island that is always active, but also about the people and life that keeps adapting to it. All About Photo Competitions AAP Magazine 54 Nature All About Photo Awards 2026

Esmeralda Ruiz

United States

Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today. A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream. Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day. As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.Source: Esmeralda Ruiz Website

Erwin Blumenfeld

Germany/United States
1897 | † 1969

Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery

Sebastien Tixier

France
1980

Born in 1980 in a small town in central France, Sebastien Tixier now lives and works in Paris, France. Trained as an engineer, the shy fascination that he had during childhood for his father’s camera finally takes over in 2007 when he starts as an independent photographer. Half in the studio, half in the fields, his work goes all the way from the dark corners of staged photographs to documentaries about the questions of our time. His photographs have been awarded by various prices and exhibited in festival or galleries across Europe. Allanngorpoq his latest work to date, synthetizes one year and a half of preparation (documenting, making contacts, and learning the language) and immersion in Greenland. This photo report combines rigorous framing and aesthetics with a documentary work, capturing the evolutions of both a changing territory and its people. The book from this work has been published on December 2014 and is prefaced by Stéphane Victor.

Edita Bizova

Czech
1987

Born in Czech Republic in 1987 I discovered my love for photography when I got my first camera from my father when I was 15. Since then I loved shooting images and I did a very poor job. It took me years to master the craft and I am still learning with help of mentors and accomplished photographers. I studied economics in high school and political science at university, after working corporate jobs and having my first kid I decided that corporate is not my way of life and I pursued photography as a profession. I started as a portrait photographer, focused mainly on women and glamour (dress and flowers) and after a few years I wanted to find my own voice in photography and make a mark. I am still looking because there are so many topics that spark my interest! I am now a professional photographer and I have won several awards that I am very proud of. I am being published in beautiful magazines internationally and that is kind of surreal for me as my daily reality is being a mother to two amazing kids in a small village. I am preparing my first book right now and the focus of my photography changed a little bit from glamour to beauty and something more minimal. When I create, I focus on color combination and creating mood and emotion with use of colors. In some works it might be subtle, but I love to play with colors to evoke emotion. Artistic Approach I am a creative rebel, I love to create beauty, but I also love humour and satire. I often get ideas to create something out of stereotypes (most times it is gender and social stereotypes), and show them to their most ridiculous extensions. I love to ask myself questions, the child in me is always curious why something is that way and not another. I am also very empathetic, I love to create to shine light on something important to me. When I create, I focus on color combination and creating mood and emotion with use of colors. In some works it might be subtle, but I love to play with colors to evoke emotion.

Joanna Borowiec

Poland
1971

Joanna Borowiec, a graduate of the European Academy of Photography in Warsaw, diploma thesis in the Creative and Expressive Photography Workshop, Dr Izabela Jaroszewska. Member of the Association of Polish Art Photographers (ZPAF). Scholarship holder of the Ministry of Culture and National Heritage 2020. Photography Workshop. Enthusiast of medium- and large-format analogue photography. Uses historic photographic processes like ambrotype – wet collodion technique, cyanotype e.c.t. The main topic of her photos is humanistic photography, human. Winner International Photography Awards IPA 2021- category Deeper Perspective Photographer of the Year. She was also awarded the third place in Photographer of the Year category of the Black& White Spider Awards competition. Prize-winner of the Portfolio Black + White Photography UK, the Portfolio Black & White for Collectors Of Fine Photography Canada, the Portfolio 2012 Shot Magazine USA. Her works and interviews with her were published in many magazines, i.a. the Black+ White Photography UK (the cover), the Shot Magazine USA, the Black and White Magazine Canada and in national magazines. Her photographs can be found in public and private collections at home and abroad, i.a. in Switzerland, Spain, Italy, Sweden, USA e.c.t. She has participated in individual and collective exhibitions at home and abroad, i.a. in Poland, Germany, Spain, Singapore, Canada, USA e.c.t. Blue Story Many of my cyanotypes are created by layering a combination of objects and film imagery with carefully timed light exposures for a depth of blue/indigo colors. Inspired by nature and how we interact with it, I arrange natural objects such as leaves, flowers and vines with human made objects or images of objects. I choose to work with cyanotypes "live", in sunlight for the spontaneity of arranging the objects and often have a general idea of what I want to do allowing for of-the-minute additions and subtractions of objects and timing of exposures. I sometimes add acryl paint, or colored pencil to a washed and dried print. Cyanotype is a contact print process using treated, UV light sensitive paper. It results in a Prussian blue final print. Also known as photogram, sun print. The English scientist and astronomer Sir John Herschel discovered this procedure in 1842. (...) Due to the coating and printing process Cyanotypes are always non reproducible unique items in itself. Dreams Unfinished It is a story about pain, love and longing. The photos were taken after the death of my father. He passed away suddenly in his sleep. I could not understand what happened, to come to terms with the loss. I looked for him everywhere and imagined he was asleep and dreaming. As a result, I have contact with him in the dream world he is with me. Works depict dreams, motifs, shards of memories which probably appear in everyone's dreams. Dreams - eternal companions of human life - encourage us to analyse our own experiences and understand our fate. They enable us to bring to surface deeply hidden secrets and go beyond the earthly matters. These records are born out of imagination and perishable ephemeral memory. They are not meant to be unambiguous; they should leave the door open for free interpretation and free reading to enable everyone to supplement them with their own story. Glass Faces "The eyes and faces all turned themselves towards me, and guiding myself by them, as by a magical thread, I stepped into the room" Sylvia Plath Glass Faces present unique, enchanting, climatic and hypnotising portraits. Bewitching with natural beauty and somewhat unreal, mysterious, silent and oozing various emotions. Faces of friends and people we have just met. Ambrotypes - positive images created on a sheet of glass using the 19th century wet collodion process - are the vital element of the project. The ambrotype is inimitable. You may try to reproduce it, but a piece created on black glass remains unique. Ambrotype - Ambrotos means immortal... I was born in a camp The story of Jan Chmiel, who was born in the Waltrop forced labor camp - a city in western Germany. According to a record issued by a German official, he was born in 1944. , according to information provided by the mother in 1942. Of the 143 children captured in the Waltrop camp, three survived, including Jan.

Mary Anne Mitchell

United States

Mary Anne Mitchell is a fine art photographer working primarily with analog processes. Her most recent series Meet me In my Dreams is shot using wet plate collodion. The images depict situations, often mysterious, which evoke her southern roots. She recently was a finalist in the 8th Edition of the Julia Margaret Cameron Awards and has been invited to exhibit some of this series in the 4th Biennial of Photography to be held in Berlin. Her work has been exhibited in solo and group exhibitions across the country and can be found in private and corporate collections across the US, Dubai, Taiwan, and Canada. She lives in Atlanta, GA. Source: www.maryannemitchellphotography.com About Meet Me in My Dreams, 2018 "This series is inspired by my poem Meet Me in My Dreams. The setting for many of the images is a fairytale landscape. My use of the young people celebrates the universal feeling of limitless potential that most people experience in their youth. The ghostlike figures are reflections of the later years when beauty and youth begin to fade. They suggest the feeling that one is becoming invisible and yet still present and powerful. The work speaks to family, memory, and the ethereal passage of time. The images are created using wet plate collodion. I scan and enlarge them to enhance the organic qualities of the medium. These are the elements of my dreams." -- Mary Anne Mitchell Meet Me in My Dreams Walking through the forest of my dreams I see a varied cast of characters. Some are known And some are strangers. Some are real, Some imagined. I catch a glimpse of something yet I look again and nothing is there, perhaps scattered by the wind. My eyes are tricked by the play of light on each and every tree. I sometimes sense I am not alone and someone watches me. The stories told are mine alone. Imagination fuels my memories and my vision is revealed. I invite you to come and meet me in my dreams. Interview with Mary Anne Mitchell All About Photo:I am a Georgia native and have exhibited my work in solo and group exhibitions throughout the United States. My photographs have been featured in online publications such as Burn and Plates to Pixels and can be found in private and corporate collections around the country. AAP: When did you realize you wanted to be a photographer?As a freshman in college, I bought a 35mm camera and took a class to learn how to use it and fell in love! AAP: Where did you study photography?Received a BFA from UGA in Athens, GA AAP: What or who inspires you?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. My kids are currently my muses. AAP: How could you describe your style?Much of my work captures authentic moments in atmospheric b/w. AAP: What kind of gear do you use?I shoot film and use mostly 35mm Nikon cameras or Holga or Blackbird Fly plastic cameras. AAP: Do you spend a lot of time editing your images?In darkroom some dodging and burning. AAP: Favorite(s) photographer(s)?I always loved Edward Weston and Cartier Bresson as far as the masters of photography. There are so many contemporary photographers doing amazing work...hard to pick... really love Vivian Maier and her whole backstory is so fascinating. AAP: What advice would you give a young photographer?Shoot constantly but selectively. AAP: Your best memory has a photographer?Strolling anywhere in Europe, camera in hand! AAP: Your worst souvenir has a photographer?A soaking wet Nikon and lens after being knocked over in a canoe while trying to get an incredible shot!

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