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Caterina Bernardi
Caterina Bernardi
Caterina Bernardi

Caterina Bernardi

Country: Norway

I was born in a town called Orkanger on the north-west coast of Norway, the land of the northern lights and long winters. This is where I draw a lot of my inspiration from, with its incredibly dramatic scenery and landscapes, and fairytales I grew up with; stories of moody and mystical Nordic environments brimming with depictions of trolls, princesses and nature.

My connection with photography first blossomed in Rio de Janeiro, Brazil where I lived in the very early 1990’s. There, I learned Portuguese, encountered very passionate people and discovered my own passion for photography. A friend had found a producer to make her first CD, and I took pictures of her recording music with famous Brazilian artists in the studio. It was an incredible experience that compelled me to pursue photography, which eventually led me to San Francisco, a magnificent city to go to live and work. There, I got my Bachelors of Fine Arts and ventured out on my own to shoot.

In the past decade I have created images for clients such as Merck, Genentech, Reebok, The Times of London, Pasolivo, Gilead, Bristol-Myers Squibb, KQED TV., Yoga Journal, Vodafone, and Warner Bros, while my work has appeared in photo publications such as Communication Arts, PDN, Graphis, APA Shows, and Graphic Design USA. Currently I am located in San Francisco, CA, but once a year the northern winds call upon me and I go back home and visit Norway, to feel the breeze and see the midnight sun.

Artist Statement
I think artists in general have an innate appetite for life, and speaking for myself, I find that curiosity and passion drive me to explore and create, to be mesmerized by life and it’s constant flux of magical encounters, fears and achievements; my vehicle of expression is the art and craft of photography. In this process I aim to intimately connect the subject and me and ultimately the viewer to a dialogue and to linger, to inspire and to create, and to preserve intense moments of emotion and beauty and mystery.

What I strive for in an image is to get genuine emotion and expressions from the subject. Sometimes it happens very naturally, and sometimes it is a real challenge to put a person at ease, to make them feel comfortable and enjoy having a camera pointed at them. It is a sensitive moment I share with my subjects while photographing, and establishing a connection with the talent is very important in order to capture striking images, and I work hard to make them comfortable and excited so they give their best. With great collaborations everyone wins and walks away with a sense of achievement.

Photography gives my life a purpose and a meaning, to further explore and discover myself, the arts and science, and our mysterious existence.

Website

caterinabernardi.com

 

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More Great Photographers To Discover

Oded Wagenstein
Oded Wagenstein
Citizen of the World
1986
Oded Wagenstein (born 1986) is a photographer and educator who collaborates with communities to explore themes of aging, loss, and belonging. His work has been published by National Geographic, The Washington Post, The Guardian, The Wall Street Journal, BBC, and VOGUE, among others. His photographs have been exhibited internationally, including at the National Portrait Gallery (London, UK) and the United Nations (New York, USA).
Chris Steele-Perkins
Chris Steele-Perkins
United Kingdom
1947 | † 2025
At the age of two, Chris Steele-Perkins moved to England from Burma with his father. He went to school at Christ's Hospital. At the University of Newcastle-upon-Tyne, he studied psychology and worked for the student newspaper; he graduated with honors in 1970 and started to work as a freelance photographer, moving to London in 1971. Apart from a trip to Bangladesh in 1973, he worked mainly in Britain in areas concerned with urban poverty and subcultures. In 1975 he worked with EXIT, a collective dealing with social problems in British cities. This involvement culminated in the book Survival Programmes in 1982. He joined the Paris-based Viva agency in 1976. In 1979 he published his first solo book, The Teds; he also edited the Arts Council of Great Britain's book, About 70 Photographs. Steele-Perkins joined Magnum Photos in 1979 and soon began working extensively in the developing world, in particular in Africa, Central America and Lebanon, as well as continuing to take photographs in Britain: The Pleasure Principle explores Britain in the 1980s. In 1992 he published Afghanistan, the result of four trips over four years. After marrying his second wife, Miyako Yamada, he embarked on a long-term photographic exploration of Japan, publishing Fuji in 2000. A highly personal diary of 2001, Echoes, was published in 2003, and the second of his Japanese books, Tokyo Love Hello, in March 2007. He continues to work in Britain, documenting rural life in County Durham, which was published as Northern Exposures in 2007. In 2009 he published a collection of work from 40 years of photographing England - England, My England. A new book, on British centenarians, Fading Light will be published at the end of July. Steele-Perkins has two sons, Cedric, born 16th November 1990, and Cameron, born 18th June 1992. With his marriage to Miyako Yamada he has a stepson, Daisuke and a grand-daughter, Momoe. Source Magnum Photos
Heidi Lender
Heidi Lender
United States
1966
Heidi Lender once reported on the fashion universe for national magazines, writing features and styling photo shoots. With a BA in apparel and textiles from Cornell University, she covered style, design, food and travel from New York to Paris. A soulful search led her to India, where she lived part-time studying yoga, and subsequently taught in San Francisco in her own studio. In 2009, she finally found herself – behind the lens of her first digital SLR, and retired her pen and yoga professorship in favor of making pictures. She splits her time between Amagansett, NY and Garzon, Uruguay. Source: heidilender.com
Lello Fargione
Lello Fargione
Italy
Photographer for passion and empathetic traveler, I was born in Sicily where I live and have fun with photography. I continue to photograph, to tell things as they happen, as if I were not there, but at the same time remaining deeply inside the image, a "journey" for the desire to know new cultures and penetrate the most remote and inaccessible places by identifying with situations that I meet, to '' narrate '' through images. I remained, by nature and conviction, a freelance "photographer", who likes to "photograph" to tell stories, not to forget, not to stop "dreaming"... Asia, a woman's life Work, fatigue, the unhealthy environment in which women in Asia live, are the theme of my photographic journey in the Burmese and Vietnamese lands. A theme that has imposed itself with all the drama of the apparently impassive gazes of women who seem to be eternal figures in an exotic and enigmatic mosaic. Often in the shadows, as if to underline an obscure and forgetful role of the past, the gesture is repeated with the automatism forged in the labor of days that have consumed the face and limbs. It is known that once these women enjoyed a very different social status and one cannot help but know that what I see today is the result of a "commercialization" of the society that commodifies individuals. The anguish as the sense of guilt intervenes in a second moment: seeing oneself as a privileged observer of the condition of others. But reviewing and showing beyond glossy aesthetics is also a way (the photographer's only way) of going beyond the observer's impotence.
Paolo Pellegrin
Paolo Pellegrin
Italy
1964
Paolo Pellegrin was born in 1964 in Rome. He studied architecture at L'Università la Sapienza, Rome, Italy. After three years, he decided to change career directions and left to study photography.He became a Magnum Photos nominee in 2001 and a full member in 2005. He is a contract photographer for Newsweek magazine. Pellegrin is winner of many awards, including nine World Press Photo awards and numerous Photographer of the Year awards, a Leica Medal of Excellence, an Olivier Rebbot Award, the Hansel-Meith Preis, and the Robert Capa Gold Medal Award. In 2006, he was assigned the W. Eugene Smith Grant in Humanistic Photography. He lives in New York and Rome. His books include Paolo Pellegrin (Kunstfoyer der Versicherungskammer Bayern 2012), Dies Irae (Contrasto, Italy, 2011); Paolo Pellegrin (Actes Sud, 2010); As I Was Dying (Actes Sud, France, 2007); Double Blind (Trolley, 2007); Kosovo 1999-2000: The Flight of Reason (Trolley, USA, 2002); L'au delà est là (Le Point du Jour, France, 2001); Cambogia (Federico Motta Editore, Italy, 1998) and Bambini (Sinnos, Italy, 1997)Source Magnum Photos
Dora Maar
Dora Maar
France
1907 | † 1997
Henriette Theodora Markovitch, also known as Dora Maar, was a French photographer, painter, and poet who lived from November 22, 1907 until July 16, 1997. Dora Maar had an important role in the life of the famed artist Pablo Picasso, serving as his love partner. Picasso featured her in various paintings, including Portrait of Dora Maar and Dora Maar au Chat. She was the only daughter of Croatian architect Josip Marković, also known as Joseph Markovitch, who studied at Zagreb and Vienna before arriving in Paris in 1896. Her mother was Louise-Julie Voisin (1877–1942), a Cognac native raised in the Catholic religion. The family moved to Buenos Aires in 1910, where the father earned many commissions, including one for Austria-Hungary's embassy. Despite his success, he was "the only architect who did not make a fortune in Buenos Aires." Nonetheless, his accomplishments were recognized, and Emperor Francis Joseph I awarded him a decoration. In 1926, the family went back to Paris. Under the alias Dora Maar, she studied at the Central Union of Decorative Arts and the School of Photography. She also registered at the École des Beaux-Arts and the Académie Julian, both of which provide equal instruction to men and women. Dora Maar actively engaged in André Lhote's workshop, where she met Henri Cartier-Bresson. During her time at the École des Beaux-Arts, Maar encountered the fellow female surrealist Jacqueline Lamba. Reflecting on their connection, Maar expressed, "I was closely linked with Jacqueline. She asked me, 'where are those famous surrealists?' and I told her about cafe de la Place Blanche." Subsequently, Jacqueline started frequenting the café, eventually leading to her meeting André Breton, whom she would later marry. Dora Maar left the workshop and traveled alone from Paris to Barcelona and then to London. In London, she took images portraying the effects of the economic crisis that followed the Wall Street Crash of 1929 in the United States. She returned to Paris and, with the help of her father, opened another factory at 29 rue d'Astorg in the 8th arrondissement. In 1935, she met Pablo Picasso and became his companion and muse. She photographed the last phases of Picasso's colossal masterpiece, Guernica, in his workshop at the Grands Augustins. She also acted as a model for his artwork Monument à Apollinaire, which pays respect to the late poet Guillaume Apollinaire. Maar's earliest known images were from the early 1920s, when she used a Rolleiflex camera on a cargo ship destined for the Cape Verde Islands. In the early 1930s, she opened a photographic studio on rue Campagne-Première in conjunction with Pierre Kefer, a photographer and designer best known for his work on Jean Epstein's 1928 film The Fall of the House of Usher. Maar and Kefer worked together at the studio, largely on commercial photography for ads and fashion magazines. During this time, her father gave financial assistance as she faced the obstacles of establishing herself and earning a living. The studio rose to prominence, displaying fashion, advertising, and nude photography, and achieved tremendous success. Within the studio, Maar crossed paths with the photographer Brassaï, with whom she shared the darkroom. Brassaï once remarked on her "bright eyes and an attentive gaze, a disturbing stare at times." Dora Maar's work in commercial and fashion photography was heavily influenced by Surrealism, as evidenced by her extensive use of mirrors and harsh play with shadows. She felt that art should transmit the essence of reality by connecting with intuitions or ideas, rather than simply copying the visual qualities of nature. Notably, Dora Maar met Louis-Victor Emmanuel Sougez, a photographer who worked in advertising, archeology, and as the artistic director of the daily L'Illustration. She saw Sougez as a mentor during this time. In 1932, she had an affair with filmmaker Louis Chavance. Dora Maar joined the "October group," which formed around Jacques Prévert and Max Morise following their expulsion from surrealism. Her first publication was in the magazine Art et Métiers Graphiques in 1932, and she had her first solo show at the Galerie Vanderberg in Paris. The gelatin silver pieces from Dora Maar's surrealist era remain highly coveted by enthusiasts, especially works like Portrait of Ubu (1936), located at 29 rue d'Astorg. These black and white compositions include collages, photomontages, and superimpositions. The photograph features the central character from Alfred Jarry's renowned series of plays, Ubu Roi. Initially showcased at the Exposition Surréaliste d'objets at the Galerie Charles Ratton in Paris and later at the International Surrealist Exhibition in London in 1936, the piece gained notable acclaim. Additionally, Dora Maar participated in Participates in Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York during the same year. During her surrealist phase, Dora Maar found resonance with the political ideologies of the left, leading her to actively engage in political activities. Following the fascist demonstrations on February 6, 1934, in Paris, she, along with René Lefeuvre and Jacques Soustelle, supported by Simone Weil and Georges Bataille, signed the tract "Appeal to the Struggle," initiated by André Breton. Much of her artistic output during this period was strongly influenced by the leftist politics of the time, often portraying individuals thrust into poverty by the Great Depression. Dora Maar was involved in various leftist groups, including the "Masses," an ultra-leftist association where she first encountered Georges Bataille, as well as the Union of Intellectuals Against Fascism, an anti-fascist organization. She also participated in a radical collective of left-wing actors and writers known as October. She actively engaged in various Surrealist circles, frequently joining demonstrations, convocations, and café discussions. Dora Maar was a signatory of numerous manifestos, among them "When Surrealists were Right," penned in August 1935, addressing the Congress of Paris that had convened in March of the same year. In 1935, she captured a photograph of the fashion illustrator and designer Christian Bérard. Described by writer and critic Michael Kimmelman as "wry and mischievous, with only his head perceived above the fountain, as if he were John the Baptist on a silver platter." During the 1980s, Dora Maar created several photograms. Her final years were spent in her apartment on Rue de Savoie, located on the Left Bank of Paris. She passed away on July 16, 1997, at the age of 89. She was laid to rest in the Bois-Tardieu cemetery in Clamart. Posthumously, her experiments with photograms and darkroom photography were discovered.
Vincent Binant
Vincent Binant
France
Driven by a passion for creation, intrigued by human relationships, and questioning the temporality of things, Vincent Binant constructs a photographic gallery where the beauty of bodies and nature collides with a latent sarcasm. To suggest emotions through movement or abstraction, these are the photographer’s ambitions, the guiding principles of his artistic process. "I have never been able to live without creating, but it is in photography that I found the medium that is most deeply my own. I use a reality I disregard entirely, a reality from which I am detached, and I reinterpret it so as never to remain passive before the one I am given. Instead, I deliver my own: often distorted, yet always aesthetic." "I like how black and white confronts us directly with things, without too much nuance. I am fundamentally like that in life, and that is why my work resembles me so naturally." Exhibitions 2026 - "Zhitong" - Group show at the Martagny Photo Festival 2026 - "Romy" - Group show at the EST Galerie 2025 - "Coco" - Solo show at the EST Galerie 2023 - Exhibition at the Biennale of Senigallia Press 2025 - Coup de cœur Fisheye #527 2025 - Photo-letter 2024 - L'Oeil de la Photographie 2023 - Coup de cœur Fisheye #450 2014 - Fubiz All About Photo Competitions Photographer of the Week 18, 2026
Dorothea Lange
Dorothea Lange
United States
1895 | † 1965
Dorothea Lange was an American documentary photographer, who studied photography at Columbia University and worked as an assistant to Arnold Genthe before beginning a photographic trip around the world in 1918. When she ran out of funds in San Francisco, she remained, opened a photographic studio, and during the early 1930s began photographing homeless rural people flooding into the city from the Dust Bowl exodus. Her photographs brought her to the attention of Paul Taylor, an economist at California University, who hired her to create a documentary record to accompany his report on agricultural conditions for the California State Relief Administration, and subsequently married her. When Roy Stryker saw these images, he hired her as a staff photographer for the Farm Security Administration (FSA), for which she worked sporadically as Stryker's budget allowed 1935-9. During this period, she made many of her best-known photographs, including the image known as Migrant Mother (1936). She later also photographed for the San Francisco branch of the Office of War Information, 1943-5, recording the internment of Japanese-Americans and the founding of the United Nations. In 1954-5 she was a photographer for Life magazine, afterward travelling extensively and producing photographic essays on Ireland, Egypt, and Asia.Source: The Oxford Companion to the Photograph In 1945, Ansel Adams invited Lange to teach at the first fine art photography department at the California School of Fine Arts (CSFA), now known as San Francisco Art Institute (SFAI). Imogen Cunningham and Minor White also joined the faculty. In 1952, Lange co-founded the photography magazine Aperture. In the mid-1950s, Life magazine commissioned Lange and Pirkle Jones to shoot a documentary about the death of the town of Monticello, California, and the subsequent displacement of its residents by the damming of Putah Creek to form Lake Berryessa. After Life decided not run the piece, Lange devoted an entire issue of Aperture to the work. The collection was shown at the Art Institute of Chicago in 1960. Another series for Life, begun in 1954 and featuring the attorney Martin Pulich, grew out of Lange's interest in how poor people were defended in the court system, which by one account, grew out of personal experience associated with her brother's arrest and trial. Lange's health declined in the last decade of her life. Among other ailments she suffered from was what later was identified as post-polio syndrome. She died of esophageal cancer on October 11, 1965, in San Francisco, at age seventy. She was survived by her second husband, Paul Taylor, two children, three stepchildren, and numerous grandchildren and great-grandchildren. Three months after her death, the Museum of Modern Art in New York City mounted a retrospective of her work that Lange had helped to curate. It was MoMA's first retrospective solo exhibition of the works of a female photographer. In February 2020, MoMA exhibited her work again, with the title Dorothea Lange: Words and Pictures, prompting critic Jackson Arn to write that "the first thing" this exhibition "needs to do—and does quite well—is free her from the history textbooks where she’s long been jailed." Contrasting her work with that of other twentieth-century photographers such as Eugène Atget and André Kertész whose images "were in some sense context-proof, Lange’s images tend to cry out for further information. Their aesthetic power is obviously bound up in the historical importance of their subjects, and usually that historical importance has had to be communicated through words." That characteristic has caused "art purists" and "political purists" alike to criticize Lange's work, which Arn argues is unfair: "The relationship between image and story," Arn notes, was often altered by Lange's employers as well as by government forces when her work did not suit their commercial purposes or undermined their political purposes. In his review of this exhibition, critic Brian Wallis also stressed the distortions in the "afterlife of photographs" that often went contrary to Lange's intentions. Finally, Jackson Arn situates Lange's work alongside other Depression-era artists such as Pearl Buck, Margaret Mitchell, Thornton Wilder, John Steinbeck, Frank Capra, Thomas Hart Benton, and Grant Wood in terms of their role creating a sense of the national "We". In 2003, Lange was inducted into the National Women's Hall of Fame. In 2006, an elementary school was named in her honor in Nipomo, California, near the site where she had photographed Migrant Mother. In 2008, she was inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. Her son, Daniel Dixon, accepted the honor in her place. In October 2018, Lange's hometown of Hoboken, New Jersey honored her with a mural depicting Lange and two other prominent women from Hoboken's history, Maria Pepe and Dorothy McNeil. In 2019, Rafael Blanco (artist) painted a mural of Lange outside of a photography building in Roseville, California.
Lauren Semivan
Lauren Semivan
United States
1981
Lauren Semivan (b. 1981) was born in Detroit, Michigan. She received a BA in studio art from Lawrence University in Appleton, Wisconsin, and an MFA in photography from Cranbrook Academy of Art. Her work has been exhibited at the Nelson Atkins Museum of Art, Detroit Center for Contemporary Photography, The Griffin Museum of Photography, The Hunterdon Art Museum, Cranbrook Art Museum, Paris Photo, and The AIPAD Photography Show among others. She has taught photography at College for Creative Studies, The Ohio State University, Virginia Commonwealth University, and Wayne State University. Semivan has received numerous awards for her work including Photolucida Critical Mass Top 50, and The Griffin Museum of Photography’s Griffin Award. In 2014, she was a finalist for The John Gutmann Photography Fellowship, and SF Camerawork’s Baum Award for Emerging Photographers. Her work was recently published in Series of Dreams (Skeleton Key Press, 2018) and has appeared in The New Yorker, Artforum, Harper's Magazine, Interview Magazine, The Village Voice, and Photograph magazine. Semivan’s work is part of permanent collections at the Nelson Atkins Museum of Art, Cranbrook Art Museum, The Wriston Art Galleries at Lawrence University, and The Elton John Photography Collection. She lives in Appleton, WI and is represented by Benrubi Gallery in New York, and David Klein Gallery in Detroit, Michigan. Artist Statement "The staged photograph exists as a document of a pre-conceived, imagined event. It can be compared to a scientific apparatus, utilizing both control and the unknown. My ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. In scientific disciplines, a line is classified as an event. Something as primitive as a scrawl on a surface reveals an aggregate of events, intersecting and changing course. Drawings made on the seamless backdrop describe an emotional space. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. My interest in photography is interdisciplinary and synergistic, informed by the written word, painting, drawing, sculpture, and the raw material of human experience. All images are made using an early 20th century 8x10" view camera. Large format negatives are scanned and printed without digital manipulation in editions of 5 (40"x50") and 10 (24"x30")."Source: www.laurensemivan.com Her ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. "Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds". Semivan’s work resides in the collections of the Nelson Atkins Museum, Cranbrook Art Museum, and the Wriston Art Center at Lawrence University, and has been featured in Wall Street International Magazine, the New Yorker, Artforum, and Photograph magazine.Source: Benrubi Gallery
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Interview with Maureen Ruddy Burkhart
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Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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