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Trevor Cole
Trevor Cole
Trevor Cole

Trevor Cole

Country: Ireland

To capture people and landscapes and the interactions between them in the light of a world in transition is to encapsulate an inimitable moment, which will never again materialise. My own 'take' as a geographer photographer!

Born in the City of Derry, but I have lived most of my life outside the bounds of Ireland; in England, Singapore, Togo, Italy, Ethiopia and Brazil. I returned to Ireland (Donegal) in 2012.

My photography, together with travel, have become two of my life's passions. My photography focuses predominantly on culture and landscapes; images which reflect a spatial and temporal journey through life and which try to convey a need to live in a more sustainable world. I seek the moment and the light in whatever context I find myself and endeavour to use my photographic acumen to turn the ordinary into the extraordinary.

I lead small photo tours in my 'own Donegal' and Ireland but also to other destinations. I lived in Ethiopia from 2006-2010 and since then have returned to take photographers to the Western and Eastern Omo, Harar, the Danakil desert and the highlands of Ethiopia. Additionally I take photo tours to Chad, Angola and South Sudan, Iceland, Namibia and India as well as travelling myself to discover and capture in new locations.

I aspire to have a vision for tomorrow - An Alternative Vision. I believe that photography can capture those inimitable moments and empower us to make a positive change in our world.

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More Great Photographers To Discover

Moises Saman
Moises Saman
Spain / United States
1974
Moises Saman (born 1974) is a Spanish-American photographer, based in Tokyo. He was born Lima, Peru. Saman is considered "one of the leading conflict photographers of his generation" and is a full member of Magnum Photos. He worked as a photojournalist in the Middle East from 2011 to 2014. Saman is best known for his photographs from the wars in Iraq: the Gulf War, the Iraq War, and the Iraqi Civil War but has also worked in Afghanistan, Egypt, Libya, and Syria including in rebel-held areas there. He covered the Arab Spring and the Syrian Civil War for The New Yorker and has worked for Human Rights Watch. His book Discordia (2016) is about the revolution in Egypt and the broader Arab Spring. Saman has won multiple awards from World Press Photo and Pictures of the Year International, and has received a Guggenheim Fellowship. In 2010 Saman was invited to join Magnum Photos as a nominee and became a full member in 2014.Source: Wikipedia Moises Saman was born in 1974 in Lima, Peru, but spent most of his youth in Barcelona, Spain, after his family moved there. Moises studied communications and sociology in the United States at California State University, graduating in 1998. It was during his last year in university that Moises first became interested in becoming a photographer, influenced by the work of a number of photojournalists that had been covering the wars in the Balkans. Moises interned at several small newspapers in California, and after graduating from university he moved to New York City to complete a summer internship at New York Newsday newspaper. That fall, upon completion of the internship, Moises spent a month traveling in Kosovo photographing the immediate aftermath of the last Balkan war. In 2000, Moises joined Newsday as a staff photographer, a position he held until 2007. During his seven years at Newsday, Moises’ work focused on covering the fallout of the 9/11 attacks, spending most of his time traveling between Afghanistan, Iraq, and other Middle Eastern countries. In the fall of 2007, Moises left Newsday to become a freelance photographer represented by Panos Pictures. During that time he became a regular contributor for The New York Times, Human Rights Watch, Newsweek, and Time Magazine, among other international publications.Source: World Press Photo
Tatiana Wills
Tatiana Wills
United States
1969
Tatiana Wills is an artist photographing creatives, highlighting the personality behind the artistic practice. Over the course of her multifaceted career, Wills ran the photo department at a notable entertainment agency in Los Angeles. While spearheading guerrilla marketing campaigns, her longing to be a part of a burgeoning art community was reignited, and she embarked on a personal project about the outsider art scene of the early aughts. She has photographed the likes of Shepard Fairey, Mister Cartoon, Gabrielle Bell, David Choe, Saber One, and Molly Crabapple. Other series in her vast repertoire include notable dancers and choreographers Kyle Abraham, Lucinda Childs, Jacob Jonas, and Michaela Taylor, along with a multitude of dance artists, all of which is inspired through a lifetime of documenting her daughter, Lily, and witnessing her journey to become a professional ballerina. Her photography book, Heroes & Villains: Portraits of Contemporary Artists, with Roman Cho, is a collection of portraits featuring more than 100 of the most iconic figures in the contemporary creative world. Her work has appeared in numerous major magazines, including GQ, Time, Juxtapoz, Nylon, IdN, LALA Magazine, on the silver screen in Banksy's street art documentary, Exit Through the Gift Shop, and on street banners in New York City and throughout Europe. She has exhibited in several galleries winning several awards along the way. She currently lives and works in Los Angeles, California. Statement To look at another person with intention is to engage in a moment of pure vulnerability. Especially now. There is so much available to us that shapes how we present and form ourselves for others that much of what constitutes us is also based on performance. My work is about looking past these performances and arriving at a kind of unvarnished selfhood. Portraiture has a long and complex history with representation, but, no matter its form, it is also uncompromising in its commitment to exploring what makes us us. Our appearances and our gestures, how we occupy space in the world. It is a way of looking not only at ourselves but viewing each other as well, a nexus between private and public, interior and exterior, approachability and distance. As someone deeply invested in and inspired by other artists in various fields, my current project has led to photographing creatives whose work often takes precedence over their own being. This project has culminated in my exploration of dancers, who, by the very nature of their field, are usually looked upon solely for the dexterity of their bodies and the ways in which those bodies can perform. My work pares them back, peeling away the performative qualities that usually define them, to arrive at that moment of vulnerability where they are free to be themselves in a new limelight. Exclusive Interview with Tatiana Wills
Maurizio Di Pietro
Maurizio Di Pietro
Italy
1974
Maurizio Di Pietro is an Italian freelance documentary photographer, primarily focused on social and environmental issues. He graduated in 2001 with a degree in Computer Science and often incorporates his passion for science and technology into his work, along with a sense of intimacy and delicacy. After working for many years as a stage photographer, he became involved with several non-governmental organizations in Morocco, Sri Lanka, Guatemala, and the West Bank, where he discovered and developed a passion for documentary photography and soon began a career as a freelance photographer. Today he also works as a reportage photography teacher at the Factory10 photography school. His images have been published in national and international magazines such as National Geographic, Geo France, Der Spiegel, BBC, L’Espresso, and many others. His work has been awarded in prestigious international competitions, including the Sony World Photography Awards, Pictures of the Year, and Lucie. In 2023, he was honored as Environmental Photographer of the Year. Turkana’s Resilience: Turkana, in northwest Kenya, is the poorest and least developed county in the ASALs (Arid and Semi-Arid Lands). More than 60% of the inhabitants of the Turkana district are pastoralists, so their survival depends entirely on livestock, natural resources for food and daily activities. In the last few decades, the region has experienced a growing population, the air temperature increased by about 3 degrees, while more frequent and prolonged droughts have reduced the natural resource base. Rainfed agriculture is not possible. Pasture resources for livestock have dramatically reduced, encouraging those closest to Lake Turkana to turn to fishing as an alternative livelihood. Communication, roads, social services, and political support are almost non-existent, leaving those living around Lake Turkana physically isolated and politically marginalized. Chronic dependence on food aid is high. The area is the fuse of violent conflict, indeed proliferation of illegal arms from southern Sudan has contributed to the escalation of insecurity along the area’s shared borders with Ethiopia, Sudan, and Uganda and other counties in Kenya as Pokot and Marsabit. Warfare is traditionally an essential part of Turkana life and the principal occupation of young men. Weapons are considered a man’s proud possessions and the practical tool for increasing herds by raiding and for expanding their territory. Fear of conflict and prolonged drought have pushed many to move to urban centers, up to Nairobi, looking for a new life. Furthermore, significant oil reserves have been discovered recently in Turkana County. The dimensions are immense. The main basin in Turkana alone contains more than 600 million barrels of oil according to the UK-based operating company Tullow Oil. For the government of Kenya, the discovery of oil is very good news instead for the pastoral communities the effects of oil exploration are likely to be more ambivalent.
Marjolein Martinot
Marjolein Martinot
The Netherlands
1965
Marjolein Martinot is a Dutch photographer, based in France. She has always been drawn to photography from an early age, and has continued using and exploring the medium throughout her life, while raising a family of six children. Her photography touches on the poetic, while striving to remain authentic and true at the same time. She aims to evoke sentiments by using and mixing different photographic approaches and analogue cameras. The prime focus of Marjolein’s work is on everyday life: family, friends, and the places and things that touch her. She has participated in various photography classes and workshops, and works on personal projects and commissions. Statement "Over the last years, photography has taken a very important place in my life. Although I didn’t realise it at the time when I started taking photo’s (years ago), it has now become a life-changing activity for me, and especially during the last couple of years. While photographing, I find that I am able to create some kind of outlet for myself. A way to travel, to step away from everyday life. Immersing in something - into another world, yet without physically having to go anywhere. I also discovered that I love taking portraits. When taking a portrait, the exchange/interaction with someone (often a stranger) is so intimate and special - hard to describe really. That tiny instance of someone’s personality coming through - managing to capture that, is truly an amazing experience. Those moments are always swift and evanish almost instantly though. Being a naturally shy person, these one-on-one encounters give me a real boost, a particular energy and a sense of confidence that I very much enjoy. With all my photography-work, I often try to evoke inner sentiments and feelings, while observing and drawing parallels to my own life. In my last photo-series, Riverland, I attempt to portray the way a meandering river compares to the always unexpected and unknown course life takes, and flows..."
Nikos Economopoulos
Nikos Economopoulos
Greece
1953
Nikos Economopoulos (b.1953) is a Greek photographer known for his photography of the Balkans and of Greece in particular. Born in Kalamata, Economopoulos studied law at university and worked as a journalist. He only started taking photographs at 25 when a friend in Italy showed him a book of the work of Henri Cartier-Bresson, which had an impact that was both instant and lasting. Cartier-Bresson "showed me a new way to see things... What I saw in his work was not only geometry and composition, but a kind of ambiguity." Economopoulos recalls that even then he did not start photography for over two years but instead bought photography books. Then he started photography: "I never photographed sunrises or made souvenir pictures of my children. For about eight or nine years I photographed at weekends and during my holidays, always in a serious way, working from morning to night." As early as 1984, Economopoulos says, "it bothered me ideologically that Greeks and Turks were enemies", and he visited Turkey to take photographs. "No Greek at that time would go to Turkey on holiday", he writes, and his Greek friends were incredulous; but Economopoulos quickly felt at home in Turkey, where the atmosphere "was exactly the same as when I was a kid in the 1960s." (Much later, he would add that Greece and western Turkey had replaced tavernas with McDonald's, while east Turkey still preserved the values of the past.) In 1988, Economopoulos finished work as a journalist and set off on a two-year photographic survey of Greece and Turkey. Nikos Economopoulos was encouraged to join Magnum Photos by the Greek-American photographer Costa Manos, and became an associate member in 1990 and, after his work in Albania, Bulgaria, Romania and the former Yugoslavia, a full member in 1994. His early work won him the 1992 Mother Jones Award for Documentary Photography. In 1993, Frank Viviano, who had first met Economopoulos in Timișoara just after the fall of Nicolae Ceauşescu, wrote that: "Economopoulos says his intention is to document the existence of what he calls the 'Balkan Man': to knit together the skeins of a collective identity in a region whose historical convulsions have made its name a synonym for implacable differences. It would appear to be a fool's errand. But almost anyone who has crossed the madman's web of frontiers and borders that stretches over the Balkans, from Istanbul to the Italian border, is likely to agree with Economopoulos's premise — and to recognize, in his work, the contradictions that sum up Balkan truth." With support from the Little Brothers of the Poor, in 1994 Economopoulos photographed gypsies in Greece, and in 1995–96 lignite miners and Muslims in Greece. In 1997–98 he concentrated on people living on the "Green Line" separating Northern Cyprus, illegal migration across the Albanian–Greek border, and young people in Tokyo; and for the next two years Albanians fleeing Kosovo. He also worked on a commission from the University of the Aegean on storytelling in the region. Economopoulos was dissatisfied with the assignment in Japan, as he felt unable to communicate with people and was just as estranged after three weeks of work as he had been on his arrival. By contrast, he writes that "I prefer to spend my time in my corner of the world, south Europe and west Asia, where I understand the codes and can make connections." This does not mean that the Balkans are an open book to him: Economopoulos has also written of the paradoxes apparent in Albania; and also across the Balkans, where faces can be sad even in wedding parties. Economopoulos's photography of Turkey won him the 2001 Abdi İpekçi Award for promoting friendship between Turkey and Greece. Painfully aware of the bitterness often encouraged in both Greece and Turkey toward the other, he has written appreciatively of the personal welcome given to him by the Turks that he meets. "There are no real differences [between Greeks and Turks]. I love Turkey and I can live there. I can't live in Paris or in London. But Istanbul — I can live there." Economopoulos's photographs have been published in The Guardian, The Independent, Le Monde, Libération, The New York Times, El País, and Die Zeit. He feels that there is no future in photojournalism. There is a loss of quality in photographs in newspapers, and Robert Capa would not take photographs if he were living today. But he concedes that Abbas and James Nachtwey would be among those who disagree.Source: Wikipedia In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean islands storytellers, commissioned by the University of the Aegean. A retrospective of his work titled Economopoulos, Photographer was published in 2002 and later exhibited at the Benaki Museum, Athens. Returning to Turkey, he pursued his long-term personal project, where he received the Abdi Ipektsi award (2001), for peace and friendship between Greek and Turkish people. He has recently turned to the use of color. Currently, he is spending most of his time away from Greece, traveling, teaching and photographing around the world, in the context of his long-term On The Road project.Source: Magnum Photos
Kathryn Oliver
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
Dougie Wallace
Dougie Wallace
Scotland
Dougie Wallace, also known as 'Glasweegee', is a Scottish street photographer, based in east London. He was born and raised in Glasgow, lived in Blackpool for a couple of years in the 1980s before enlisting in the army, and has lived in Shoreditch, east London, for 15 years. For two-and-a-half years beginning in October 2010 Wallace made 30 trips to Blackpool to complete his first book Stags, Hens & Bunnies: A Blackpool Story (2014), photographs of the stag and hen parties that visit the town, "lads and lasses on their worst behaviour, partying away in a bawdy sea of L-plates, handcuffs, blow-up dolls and uniformed fancy dress in various states of undress and drunkenness; revelling in bars, puking in the street, refuelling at chip shops." Wallace spent 15 years photographing in the Shoreditch area of East London, a series published in his second book, Shoreditch Wild Life (2014). He photographed the disappearing Premier Padminis in Mumbai for his series Road Wallah.Source: Wikipedia Scottish photographer Dougie Wallace is internationally recognised for his long-term social documentary projects and a distinct direct style of expressive street photography. He has won prestigious awards, exhibited as a solo artist or in joint exhibits in world-renowned institutions and photographic festivals, authored a number of books, all critically acclaimed. London-based, his assignments and personal work take him around the world. To coincide with BBC Season of Photography, in March 2017, BBC4 broadcast a 30-minute programme about Dougie, as part of the What Artists Do All Day series, providing insights into the lives of outstanding artists. The programme follows Dougie on the streets of Knightsbridge, as he completes the photographs for the book Harrodsburg. Available here to watch. More recently, Dougie was commissioned by Sky Art 50 to create a film, which explored what it means to be British in the light of the EU referendum. It was showcased at The BALTIC Centre for Contemporary Art and the Barbican. It was also broadcast on Sky Arts channel on the night of the original Brexit leaving date (March 29th, 2019). Dougie attributes his unique vision to his Glasgow up-bring and experiences lived or perceptively witnessed over two decades of residing in east London, from the uninhibited party days, when the area was a cultural wasteland through to its on-going urban regeneration, turning this district into a fashionable destination and tourist Mecca. "Living in Shoreditch has helped me develop an eye for the tragi-comic, messy side of uninhibited human behaviour. My Glasgow upbringing has shaped my style, which has been described as 'visually exaggerated' and 'hard-edged'. What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic. They have similarities of expressions running through them. My work is informed by societies’ trends and incongruities and translating what I see through the lens into wit, criticism and humorous vignettes. I’d like to think that my photos convey a point of view that believable and absurd." This idiosyncratic point of view comes to life in his books, which have all equally generated critical attention and viral buzz. His books Stags, Hens and Bunnies: A Blackpool Story (Dewi Lewis Media, 2014) and Shoreditch Wild Life (Hoxton Mini Press, 2014), each a distinctive spin on hedonism and excess, turned Dougie into a household name among taste-makers. Road Wallah (Dewi Lewis, 2016), which offers a unique insight into the world of Bombay cab drivers has been exhibited at numerous photo festivals and gallery shows and was shortlisted for 2015 European Book Publisher’s Award. Followed Harrodsburg, which won the inaugural 'Magnum Photography Award 2016'. Well Heeled (Dewi Lewis, 2017) is an observation about the cultural shift among dog owners (Dewi Lewis, 2017). Goan to the Dogs is to be published by Dewi Lewis in 2020. East Ended is a reflection on gentrification and its ambiguous and fraught relationship with street art and local communities. Newly published by Dewi Lewis. Dougie is sought after for opinion, project assignments, editorial features and ad-hoc opportunities. His work has been featured in assignments and publications for magazines and newspapers, including, The Sunday Times Magazine, D Repubblica, The Economist, Le Monde, The New Yorker, Stern, The Guardian, New York Times, The Independent, International New York Times, Observer, GQ, Dazed, Hunger, Vice, BBC, CNN, Itsnicethat, Marie Claire, Die Zeit, Süddeutsche Zeitung, El País, Der Spiegel, Macleans, NZZ, Die Tageszeitung, Neon, dS Magazine - De Standaard. As well as numerous photography magazines, BJP, GUP, Amateur Photographer, Professional Photographer, F2, Fotografia Magazine, Lens Culture, Leica LFI, L’Oeil, Fotomagazine, European Photography and Photo International. Dougie continues to shoot fashion for the likes of Tatler, Balenciaga and Dazed. Dougie Wallace has conducted workshops both in the UK and overseas. He regularly donates his work to his chosen charities each year.Source: www.dougiewallace.com
Mitch Dobrowner
Mitch Dobrowner
United States
Growing up on Long Island (Bethpage), NY – I felt lost in my late teens. Worried about my future direction in life, my father gave me an old Argus rangefinder to fool around with. Little did he realize what an important gesture that would turn out to be for me. After doing some research and seeing the images of Minor White and Ansel Adams I quickly became addicted to photography. To make a long story short, I left home at 21, quitting my job, leaving my friends and family to see the American Southwest for myself. In California I eventually met my wife, and together we had 3 children, and created our own design studio - and the tasks of running a business and raising a family took a priority to Photography. During that time I stopped taking pictures. Years later, in early 2005, inspired by my wife, children and friends - I again picked up my cameras. Today I see myself on a passionate mission to make up for years of lost time - creating images that help evoke how I see our wonderful planet. I feel that I owe much to the great photographers of the past, especially Ansel Adams, for their dedication to the craft and for inspiring me in my late teens. Though I have never met them, their inspiration helped me determine the course my life would take.Source: www.mitchdobrowner.com Represented by:Photo-Eye Gallery, Santa Fe NMIris Gallery, Boston MAGADCOLLECTION, Paris FranceCatherine Couturier Gallery, Houston TXKopeikin Gallery, Los Angeles, CAWall Space Gallery, Santa Barbara, CA
Costas Delhas
Costas Delhas
Greece
I was born and raised in Athens, where I work as a photographer. I have attended photography courses and specialized seminars in applied and art photography. I have also taken part in workshops with Magnum photographers Gueorgui Pinkhassov and Nikos Εconomopoulos. Since 2017 I have been a lecturer in the photography seminars of www.iFocus.gr. Statement "Cosmography" is a portfolio dedicated to the magic of travel and the art of photography. Each image included in this collection is a window into the world - a moment frozen in time that tells a story of culture, landscape and human presence. Photography here functions not just as a record, but as a bridge: between the gaze and the experience, between the photographer and the viewer. "Cosmography" is a map of emotions, experiences and images - a photographic mapping of the world as seen by a traveller, inviting the viewer to rediscover the world - not as a tourist, but as an explorer of beauty, diversity and the common human thread that connects us all.
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