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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Jonathan Chritchley
Jonathan Chritchley
Jonathan Chritchley

Jonathan Chritchley

Country: United Kingdom

Jonathan Chritchley is one of the foremost fine art photographers in the world today. His instantly recognizable work is seen around the world in exhibitions, galleries, magazines and books, and form part of many fine art collections internationally. His regular clients include Ralph Lauren, Hilton International, Fortuny and P&O Luxury Cruises. Jonathan also speaks and presents his work at photography and sailing events worldwide, and is the founder and owner of Capture Earth and Ocean Capture, two companies specializing in luxury photography workshops & tours.

Born in London, England, Jonathan became infatuated with the sea after moving to the famous sailing town of Lymington on the country's south coast at the age of 14. Years later, having moved to the South of France, he gave up a successful career as a marketing and brand director in order to return to his true passion; a combination of the sea and fine art photography. He has now worked in over 35 countries, including Mozambique, Japan, China, Cambodia, Chile, Greenland and South Africa.

Jonathan was named one of the 'Top 100 Photographers of All Time' by the Sunday Times. His first book, SILVER, a 136 page fine art art edition, was published in 2014, and in 2016 he was made a Fellow of the Royal Geographical Society (FRGS).

An active supporter of ocean conservation, Jonathan currently resides in the South of France with his wife and young family.

Source: www.jonathanchritchley.com


Jonathan Chritchley is a detail-obsessed perfectionist of black-and-white photography. Sections and details of his work allow us to delve into landscapes of the soul and are both relaxing and contemplative.

Natural beauty does not mean perfection: to him it means uniqueness. And accordingly his photographs look like visions of the unknown and new.

The atmosphere of his landscapes is not loud or spectacular but rather teases out a picturesque silence while playing with the power of nature, which he encounters in clearings in the forest, in the middle of the sea, or the panorama of a seascape.

He explores the scene with his camera like a hiker and captures forces of nature – a stormy collection of clouds and treetops bent by the winds, or the tautly pulled and suddenly billowing sails – in impressive images. We can truly inhale the landscape in Chritchley’s works – sense the wind, the cold, the distance, the resistance – because he has confronted them confidently and persistently with his camera.

Chritchley learned to sail as a boy on the south coast of England. He still preserves his excitement for the sport as well as sailing’s creativity and his inherent love of discovery, and he lives these actively in his photos. He abstractly choreographs the play of the wind in the sails. Billowing, cleverly cropped, sometimes full-bodied like a sculpture and momentarily rising to formidable heights, they can then in a split second give way in a windless sky. This creates an exciting scenario and offers aesthetic moments that fascinate more than just passionate sailors. He does not necessarily see himself as the “master of images” but rather as a curious observer of the canvas’s unpredictable moods.

As a globetrotter, Chritchley has been a guest not only on all continents but also on the pages of many magazines and in many galleries. His singular sailing portraits are known and loved internationally. The landscapes and sailing scenes specially selected for LUMAS attest to the photographer’s creative diversity, above all in the realm of abstraction.

Source: LUMAS

 

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John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
Nanna Heitmann
Germany/ Russia
Nanna Heitmann is a German/ Russian documentary photographer, based between Russia and Germany. Her work has been published by TIME Magazine, M Le Magazine du Monde, De Volkskrant, Stern Magazine and she has worked on assignments for outlets including The New York Times, TIME Magazine, The Washington Post and Stern Magazine. She has received awards that include the Leica Oscar Barnack Newcomer Award, the Ian Parry Award of Achievement. Nanna Heitmann joined Magnum as a nominee in 2019. Hiding from Baba Yaga "Vasilisa was running faster than she had ever run before. Soon she could hear the witch, Baba Yaga's mortar bumping on the ground behind her. Desperately, she remembered the thin black cat's words and threw the towel behind her on the ground. The towel grew bigger and bigger, and wetter and wetter, and soon a deep, broad river stood between the little girl and Baba Yaga. Vasilisa threw the comb behind her, and the comb grew bigger and bigger, and its teeth sprouted up into a thick forest, so thick that not even Baba Yaga could force her way through. And Baba Yaga the witch, the bony-legged one, gnashing her teeth and screaming with rage and disappointment, finally turned round and drove away back to her little hut on hen's legs." From time immemorial people have sought protection and freedom on the banks of the Yenisei and the adjacent wild taiga. For a long time, the banks of the Yenisei have been pervaded by nomadic peoples. The Russians, coming from the west, chased by the greed for valuable fur, did not reach the river until 1607. Criminals, escaped serfs, apostates or simply adventurers, joined together in wild rider associations and expanded ever deeper into the vast wild Taiga. The life of the settlers in Siberia was free and self-determined for the time. Old believers settled on lonely banks of the Yenisei to escape the persecution of the Tsar and later the Soviets. With Stalin the Yenisei became a place of exile and forced labor. The Soviets not only chained the native peoples, but also the Yenisei. With two giant dams they created lakes of almost 400km length. Villages sank in the water, the climate changed. A dense fog swept over the river. The USSR is history. Today, most people are drawn to big cities like Moscow or St Petersburg. Therefore the Yenisei turns more and more into a space for dreamers and loners to escape the worldly world. Not far from the banks of the Yenisei lives Yuri, who has built a small hut on a landfill. Here he can find food for his 15 former street dogs, here he lives freely. Nothing keeps him in the city, where thick coal dust covers the white snow in winter. "All my friends are in the cemetery. Drugs or alcohol." Following the stream of the Yenisei north one encounters Valentin. An self claimed anarch ecologist - a former officer, traumatized by war missions. Today he lives on his small property in the forest. Even at minus 50 degrees, he sleeps outside by the fire. From endless wars he has enough. "All the people of this world, live together in peace and protect your forests." Only to those who threaten the Siberian forests he declares war. "We have a wonderful forest. How many tress grow here. But we need more forests to breathe. Humanity destroyed our forests. These must be revived immediately. " Not far from the source of the Yenisei, Vaselisa lives in the village of Old Believers. Her parents are both deaf and the only heathens in a village that lives strictly to century-old rituals. She doesn't like the children in her village. Her only friend lives in the village of Sissim. While summer holidays the Yenisei and a walk separates them from each other. Encountering all this different people, there is a bond which connects them with each other. The seek of freedom, protection, imprisonment and isolation. The Yenisei and its woods become a metaphor of a dreamscape: Loneliness, unfulfilled dreams, death, abandoned hopes shape people as much as the vast nature, which at the same time gives so much freedom and places of retreat.
Micha Bar-Am
Germany
1930
Micha Bar-Am is a German-born Israeli journalistic photographer. His images cover every aspect of life in Israel in the past sixty years. Since 1968 he has been a correspondent with Magnum, the photographic cooperative. From 1968 to 1992, he was The New York Times photographic correspondent from Israel. He has published several books of photography, beginning in 1957. His work is held in numerous international museums and institutes throughout the world. Born in Berlin to a Jewish family, Bar-Am moved with his parents in 1936 to then British Mandate of Palestine. He attended local schools. He was drafted in 1948 and served during the 1947–1949 Palestine war, when he was part of the Palmach Unit. Afterward, he worked several jobs, including as a locksmith and a mounted guard, before becoming a photographer. In 1949 he co-founded the kibbutz Malkia in Galilee. Later he became a member of Kibbutz Gesher HaZiv. In the early 1940s, Bar-Am started taking pictures of life on a kibbutz; he used borrowed cameras until he bought a Leica. After his military service, he began photographing more seriously. After publishing his first book, Across Sinai (1957), Bar-Am gained work as a photographic reporter and in the editorial staff of the Israeli Army magazine, Ba-Mahaneh, from 1957 to 1967. In 1961 he covered the Eichmann trial. In 1967 he covered the Six-Day War, during which time he met Cornell Capa. Many of his war images brought him renown. Since 1968, he has been a correspondent for Magnum Photos. In 1974 he helped Capa found the International Center of Photography in New York City. In 1968, Bar-Am also became the photographic correspondent from Israel for The New York Times, a position he held until 1992. From 1977 to 1992, he was head of the department of photography at the Tel Aviv Museum of Art. He continues to work on his photography. He writes about his work: "I keep my internal eye open for that other, metaphorical image that transcends illustration to achieve a wholeness of its own. I strive for the elusive entity that is both evidence and evocation, public record and personal vision." He says that he has adopted Robert Capa's saying, "If your photographs aren't good enough, you weren't close enough," but has added a caveat: "If you're too close you lose perspective. It is not easy to be fair with the facts and keep your own convictions out of the picture. It is almost impossible to be both a participant in the events and their observer, witness, interpreter. The effort brings great frustration, and equally great reward."Source: Wikipedia Born in Berlin in 1930, Micha Bar-Am emigrated to Israel (then Palestine) with his parents at age six. During his youth, Bar-Am became active in the pre-state underground and was drafted in 1948. After serving in the war, he helped found the Kibbutz Malkiya in Galilee. Soon after, Bar-Am moved to Kibbutz Gesher-Haziv, where he took his first photographs of archeological digs in the Judean desert. He borrowed his camera from an American member of his kibbutz who teased that though Bar-Am’s photographs were better than his own, they would never be used, as Bar- Am was only a “kibbutz dilettante.” Bar-Am proved this statement wrong; his work was soon published in the Israeli Army magazine Bama Hana. In 1957, he was offered a full time job as a staff photographer for the magazine. In the following years, Bar-Am continued to document the Israeli army. In 1967, he photographed the Six-Day War, during which he met Cornell Capa. Capa and Bar-Am became friends and he introduced Bar-Am to Magnum, a photographic co-operative where Bar-Am would become an associate. In 1968, Bar-Am began his career as a New York Times correspondent and documented the Israeli Palestinian conflict from Suez to the Golan Heights. Bar-Am was closely involved with the founding of the International Center of Photography in 1974, working alongside Cornell Capa as a curator. He became the Curator of Photography for the Tel Aviv Art Museum in 1977. He left this position in 1992, and has been working on his own photography ever since. Though often classified as such, Micha Bar-Am is not merely a photojournalist (an assignation Bar-Am himself refuses). His work represents more than documentation of the action of war. Bar-Am’s photography captures the changed lives and lifestyles of Israeli men and women as a result of the years of conflict. His carefully composed shots contain a thoughtfulness and artfulness often unseen within documentary photography. His work continues to be published and exhibited around the world.Source: International Center of Photography
Kristoffer Albrecht
Kristoffer Albrecht is a Finnish photographer, born in Helsinki, Finland in 1961. Albrecht lives in Ingå, Finland, and works as an independent photographer. His photographic work has been exhibited in his native Finland and internationally. Albrecht's work can be seen in collections at Helsinki’s Finnish Museum of Photography, Stockholm’s Moderna Museet, Moscow’s Pushkin Museum, Bibliothèque Nationale de France in Paris, Metropolitan Museum of Art in New York, and more. Albrecht has published some 30 books, among them Metropol (1998), Memorabilia (2004) and ZigZag in Europe (2009). Kristoffer Albrecht is represented in art museums and other public collections in Finland, France, Germany, Russia, Sweden, USA. Kristoffer Albrecht has been exhibiting both at home and abroad since 1983. Previously mentored by acclaimed Finnish photographer Pentti Sammallahti, Albrecht exhibited alongside Sammallahti at in the Print Sales Gallery in 2017. Near the Wind showcased a collaborative body of work specially commissioned by The Photographers’ Gallery. Albrecht has exhibited in solo and group shows across Finland, Russia, Demark, France, Spain and the US since 1983, and his works can be found in international public collections including the Finnish Museum of Photography, Helsinki, the Bibliothèque Nationale de France, Paris, the Metropolitan Museum of Art, New York, the Modern Museet, Stockholm and The Pushkin Museum, Moscow. Making photobooks is an important means of his artistic expression; to date Albrecht has published some thirty photobooks, most recently Domestica (2018). He has been teaching photography and also conducting research in the field for several decades.Source: Invaluable
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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