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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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Alessandra Sanguinetti
Alessandra Sanguinetti
United States
1968
Alessandra Sanguinetti is an American photographer. A number of her works have been published and she is a member of Magnum Photos. She has received multiple awards and grants, including the esteemed Guggenheim Fellowship. Her first solo show in the United States was in 2005 at Yossi Milo. Born in New York City, Sanguinetti moved to Argentina at the age of two and lived there until 2003. Currently, she lives in San Francisco, California. Her main bodies of work are The Adventures of Guille and Belinda and the Enigmatic Meaning of their dreams twenty + years long documentary photography project about two cousins—Guillermina and Belinda—as they grow up in the countryside of Buenos Aires; On the Sixth Day which explores the cycle of life and death as through farm animals lives; Sorry Welcome, a meditative journal on her family life; Le Gendarme sur la Colline, documenting a road trip through France in 2018. She has been a member of Magnum Photos since 2007 and is a Magnum Workshop teacher.Source: Wikipedia An ICP graduate, she began a series of works in 1999 about the relationship between two nine-year-old cousins, Belinda and Guille, who live on a farm outside of Buenos Aries. Sanguinetti photographed them for ten years, charting their evolution from girls to young women. The girls collaborated with Sanguinetti on the series, The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams, to construct images that evoke the fantasies and fears that accompany the physical and psychological transition from childhood to adulthood. The photographs use costumes and props, as well as references to art and literature, to explore the diffuse boundary between fantasy and reality. As the girls age, the photographs become more meditative as they start exploring their adult lives. Sanguinetti is a member of Magnum Photos, and her photographs are held in museums including the Museum of Modern Art; the Museum of Fine Arts Boston; the Museum of Fine Arts Houston; and the San Francisco Museum of Modern Art.Source: International Center of Photography "I was born in NYC in 1968. Two years after that, my family and I moved to Buenos Aires, where I grew up, worked and lived until 2002. I'm based in California now. I've been a photographer since I'm ten years old and made half of my work in a small area 200 km south of Buenos Aires. I've also made and are making work in many other parts of the world. To do so, I've had the support of the Guggenheim Foundation, The Hasselblad Foundation, the National Fund for the Arts of Argentina, the Harvard Peabody Museum/Robert Gardner Foundation, the Aperture/Hermes Foundation, the MacDowell Colony, and the John Gutman, Alicia Paterson and the Magnum Foundation."
Damian Lemański
Damian Lemański
Poland
1985
Damian Lemański aka Damian Wolf Wagabunda Polish freelance photojournalist documenting the life around him. He is mainly interested in people and their place in today's world - especially those left aside, on the margins of society. In 2008 he graduated from the European Academy of Photography in Warsaw - Dr Izabela Jaroszewska's school. He took part in workshops led by Kadir van Lohuizen, Pep Bonet, Tanya Habjouga, Espen Rasmussen, Stefano De Luigi, Tomasz Tomaszewski, Michael Ackerman, Lorenzo Castore. Vagabond and dreamer. At the turn of 2011 and 2012 he wandered for 181 days through South America. From this solitary expedition he edited the film 181. And in 2015 he set off on his bike from Korsze in Masuria (Poland) to Africa, to reach Dakar in Senegal after 171 days. During this expedition, together with the foundation Hear Africa, he raised money for the education of a deaf girl, Makane Dieng. From this expedition, Damian created the film Restaurant, which premiered in February 2018. In early 2019, he flew to the Greek island of Lesbos, where Europe's largest refugee camp is located, because he wanted to get to know the people that so many are afraid of without knowing them at all. For a few weeks, walking between tents in the so-called jungle next to the Moria camp (which he was not allowed into) and in other places on the island, he met hundreds of people who willingly invited him to join them around the campfire for warm tea or a meal in the tent that is currently their home, shared bread they had just baked in an oven dug into the ground, and shared heartbreaking stories. He met people who live in inhumane conditions and try to maintain their dignity, people who, having little, get offended if you don't eat enough, when they offer what they have. He also met there a wonderful Greek couple, Katerina and Nikos, who 6 days a week host the residents of the Moria and Kara Tepe camps for dinner in their restaurant and take the meals to the place. They are assisted by many volunteers, including from Poland. In October 2019, he visited Senegal again - this time to document the work of the Polish Medical Mission. At that time, he met Huleje (Little Princess) and her parents. Since 2017, every now and then he visits Lunik IX, a Roma settlement in Kosice, Slovakia, where he left his heart among the children living there. On a daily basis, he tries to love.
Ed Sievers
Ed Sievers
United States
1932 | † 2002
Ed Sievers was born in 1932 in St. Louis, MO, the son of a family doctor that made house calls and an aspiring opera singer. He attended Grinnell College, graduating with a degree in Speech in 1954. His first job was as a creative writer for Hallmark Cards. The slogans he penned were notable for the wry wit and wisdom with which he commented on the human condition. At the same time, his interest in the arts was expanding from the literary to the visual, and would ultimately lead him in a new direction. In 1966 he was accepted into the MFA program at the Rhode Island School of Design to study photography with Harry Callahan. Upon graduation in 1968 he joined the faculty of California State University, Northridge, as a specialist in fine art photography. He took up residence in the Carlton Hotel in Venice Beach and soon realized he had walked into a street photographer's dream. Originally designed as a resort community modeled after its Italian namesake, Venice had fallen on hard times. Buildings were in disrepair and rents were cheap. Influenced by the Bohemian lifestyle of its poets, artists, students and a struggling lower class, the boardwalk suddenly sprang to life. There were musicians, dancers, jugglers, mimes, magicians, comedians, roller skaters, fortune tellers, gritty street people and colorful hippies. And, of course, there was the sprawling nude beach. Throngs of gapers flocked from throughout Southern California to enjoy the expressive spirit of the moment. But that was only on weekends. A quieter, more sensitive mood prevailed during the week. The gentle gestures of holocaust survivors at the Israel Levin Center. The recovering alcoholics quietly heading home after Al-Anon meetings. The homeless searching for food and drink. The once cheerful cottages longing for attention. The iconic murals. The myopic murals. The motions of a people not sure of what lay ahead. Within a decade the Venice that Ed knew had been swallowed up by rampant commercialism and the inexorable influx of the nouveau riche. Upon his death in 2002, the Edwin R. Sievers Memorial Award was established to share his vision with future students; "His approach to photography was straight forward: use the nuances of available light to enhance the subject, whatever that may be: ordinary, quirky, or sublime." Source: Robert Mann Gallery
Axel Breutigam
Axel Breutigam
Germany/Canada
Axel Breutigam is a German-born Canadian Fine Art Black and White Photographer, located in Vancouver, BC, Canada. Breutigam started photography at an early age, with an Agfa Box Camera, gifted to him by his father. His interest in photography developed into a serious practice around the age of sixteen, when he purchased his first SLR camera and turned his bathroom into a darkroom to self-develop his b&w photos. However, his photographic practice was cut short as his career as an attorney and CPA as well as family took precedence for much of his adult life. Although he practiced photography during any spare moment available, from family vacations to business trips around the world, it was not until he sold his law firm in 2002 and moved with his family to Vancouver, BC that he was able to devote his time fully to his art. In 2013/14 Breutigam got the chance to study with Alan Ross (Ansel Adams' former assistant and the exclusive printer of Adams' Yosemite Special Edition Negatives). Under Ross Breutigam enhanced his technical skill and was taught how best to use digital processing techniques that emulate the darkroom prints of earlier decades. Both Ansel Adams and Alan Ross have been influential artists for Breutigam, and although he emphasizes that he deliberately does not replicate their styles, he is inspired by the exquisite tonality and quality of their works. Breutigam shoots in black & white exclusively; rather than dictate the colors of a particular image to his audience, monochrome encourages them to imagine, from their own unique perspective, how the scene may have appeared at the time of the photograph; also, monochrome photographs give room for the viewers' own interpretations of his photographs. Breutigam, meanwhile an award-winning photographer, hopes that his compositions inspire people to reflect upon their surroundings, and enable them to appreciate the often overlooked beauty found in urban environments and nature. His attention to detail, visual aesthetics, and unique perspective indeed empowers his viewers with this opportunity. Since 2014 Breutigam's work has been exhibited at seven Solo- and eight Group-Shows. Breutigam has published three Photography Books.
Izabella Sapuła
Izabella Sapuła
Poland
Polish photographer specializing in fine art photography. She is self-taught and engages in her passion for photography and art as a tool to explore human relationships but also relationships with herself or the surrounding nature. Her psychological education and the fact that she grew up among animals in a house on the edge of the forest are clearly visible in her photographs. The direction of her work is determined by a longing for understanding and deeper view of human and his unity with the natural world.
Isaiah West Taber
Isaiah West Taber
United States
1830 | † 1912
Isaiah West Taber was an American daguerreotypist, ambrotypist, and photographer who took many pictures of noted Californians, which he donated to the California State Library "that the state may preserve the names and faces, and keep alive the memory of those who made it what it is." He was also a sketch artist and dentist. His studio also produced a series of stereoscopic views of west coast scenery. Taber was born in New Bedford, Massachusetts and between 1845 and 1849 he worked at sea on a whaler. He first moved to California in 1850., then returned East in 1854 and opened his first photography studio in Syracuse, New York. In 1864, Taber returned to California, where he worked in the studio of Bradley and Rulofson until 1873. In 1871, Taber opened his own studio, where he gained fame for reproducing the photos of Carleton Watkins after Watkins went bankrupt, although the reproductions were published without credit to Watkins. In 1880, Taber made a six-week photographic trip to the Hawaiian Islands where, among other subjects, he photographed the Hawaiian King Kalākaua, completing a commission for three full-length portraits. The following year Kalākaua visited Taber's studio in San Francisco. At this time the Japanese photographer Suzuki Shin'ichi (1855–1912) was studying photographic techniques with Taber; Suzuki also photographed King Kalākaua (in 1881) and may have been the source of some views of Japan included in Taber's stock. By the 1890s, Taber had expanded his operations to include studios in London, England and in elsewhere Europe. However, the 1906 San Francisco earthquake destroyed his San Francisco studio, gallery, and negative collection, ending his photographic career.Source: Wikipedia Massachusetts native, he was one of the most successful 19th century photographers and photographic publishers. He worked as a gold miner, rancher, and dentist before learning the daguerreotype process and opening one of the first photographic studios in Syracuse, New York. Taber moved to San Francisco in 1864 and joined the photographic publishing firm of Bradley & Rulofson. In 1871 he opened his own studio and photographic publishing company and soon was operating a successful portrait, landscape, and urban photography business. Like photographers promoting other cities, Taber linked much of his work to the tourist trade. His landscapes and views of San Francisco appeared in publications such as Hartwell and Mitchell's souvenir city-view book and his own two-album set, California Scenery and California Scenery and Industries. The albums were part of a commercial endeavor and contained images from Taber's extensive files, surrounded by advertising text. Taber employed numerous staff photographers whose work he published under his own name. He also published under the Taber imprint, images by Carleton Watkins after acquiring negatives from the bankrupt photographer in 1876. By the 1890's Taber was internationally famous, with studios in London and on the Continent.Source: Fine Arts Museums of San Francisco
Frieke Janssens
Frieke Janssens
Belgium
1980
Over the past 25 years, Frieke Janssens has acquired a reputation as a photographer of surreal staged tableaux and group portraits, often originating in a specific concept, and almost always stemming from an inexhaustible interest in human diversity. Her series often stand out because of their confrontational nature. Notable series include, among others, Smoking Kids, Your last shot, Diana's, Animalcoholics, and recently Lightness. In the same way that an oil painter builds up a work layer by layer, she too meticulously creates each image, down to the smallest detail. In every picture we can recognise the same artistic touch, the same technical perfection, combined with a playful duality between reality and fiction. At first glance, her images attract the viewer because of their pared-down beauty. Yet once one really starts to look in earnest, one realises that there are always multiple layers of meaning. It seems as if the people portrayed are trying to tell us something. However, they are silent, and consequently have to rely on the viewers to create the story for themselves. Frieke does not adopt any particular position, but aims to convey the feeling that one is not only looking at a photograph, but at a mirror as well. As such, she leaves the viewers free in their interpretation, yet never leaves them indifferent. She sometimes lends her pared-down style to clients with whom she has a good connection, like a cultural centre, or a campaign, or a newspaper or magazine. In recent years, Frieke Janssens has exhibited in New York, Chicago, London, Hull, Bilbao and obviously also in her own country, including in Antwerp and Knokke-Heist. Her work has appeared in The Guardian, The Atlantic, Huffington Post, Knack, De Morgen, De Tijd and NRC, among others. Her book The Sweetest Taboo won gold at the 2019 Henry Van De Velde awards. In 2022, her third book Lightness was published on the occasion of the eponymous exhibition in Foto Knokke-Heist.
Ilse Bing
Ilse Bing
Germany
1899 | † 1998
Ilse Bing was one of the leading European photographers of the interwar period. She was born into a comfortable Jewish family in Frankfurt, Germany, in 1899. As a child her education was rich in music and art. In 1920 she began studying mathematics and physics at the University of Frankfurt, but soon changed to study the history of art. In 1924 she continued her studies with a doctorate on the Neo-Classical German architect Friedrich Gilly. Bing's introduction to photography was triggered by a practical need to illustrate her doctoral thesis. She bought a Voigtlander camera in 1928 and began to teach herself photography. The following year she bought a Leica, the new and revolutionary 35mm hand-held camera that enabled photographers to capture fast-moving events. As well as enabling her to photograph buildings for her thesis, Bing's newfound skill with the camera earned her an extra living as a photojournalist for a German illustrated magazine supplement, Das Illustriete Blatt. During these early days of her career, Bing was also commissioned by the Dutch modernist architect Mart Stam, who taught at the Bauhaus school of design, to visually record all of his housing projects in Frankfurt. The resulting photographs were characterized by dizzy angles, flat planes and strong shadows, which were characteristic of an emerging modernist language of art and design, pioneered by both the new architecture and the 'New Photography' movement, of which Bing was beginning to be a part. Through Stam, Bing was also introduced to Frankfurt's avant-garde artistic circles. Having found some commercial success with photography, and with her artistic horizons expanding, Bing gave up her thesis in the summer of 1929 and, in 1930, decided to move to Paris to concentrate on photography. Establishing herself in Paris as a freelance photographer, she applied elements of the photographic style she had experimented with in Frankfurt to commercial work, including photojournalism, architectural and theatrical photography, advertising, fashion and portraiture. For the first couple of years in the city, she published her work regularly with German newspapers and Das Illustriete Blat. Gradually, she also started to publish work in the leading French illustrated newspapers such as L'Illustration, Le Monde Illustré and Regards, and from about 1932, she increasingly worked for fashion magazines Vogue, Adam, Marchal, and the American Harper's Bazaar. She explored Paris' rich historic past and its worn and weathered environments as well as its modern urban scenes, photographing the exhausted grandeur of the Père Lachaise cemetery, dark apartment blocks reflected in gutters, or the layering of torn posters on a wooden fence. Her fascination with shadow, contrasts of light and dark, and basic geometrical shapes also informed her portraiture. Her photograph of a young girl (Flower Girl, 1931) staring into the distance demonstrates her skill as a portraitist. The large flowers in the background contrast with the delicate bright flowers on the girl's dress, and the shadows behind highlight the bright young face. When on assignment, Bing would take extra pictures for her own artistic interests, and she quickly built up a large body of work. During a commission to photograph the famous Moulin Rouge cabaret, for example, she made a series of photographs of dancers, which formed her first exhibition in Paris in 1931. Later that year, her photographs caught the attention of the photographer and critic Emmanuel Sougez, who praised their dynamism. Nicknaming Bing 'the Queen of the Leica', Sougez continued to be an important and influential supporter of her work throughout the 1930s. In 1931 Bing met the New York-based writer Hendrik Willem van Loon, who became her most important patron and introduced her work to American clients. Van Loon showed her work to the collector and gallerist Julien Lévy, who subsequently displayed her work in the exhibition Modern European Photography: Twenty Photographers at his New York Gallery in 1932. Bing also frequently exhibited in Parisian galleries, where her work was shown alongside that of Brassaï, Henri Cartier-Bresson, Florence Henri, Man Ray and André Kértesz. In a trip to New York, Bing met Alfred Stieglitz, a leading figure in the American photographic world and great supporter of modern photography. We can see the influence of Stieglitz's vision on the photographs Bing made of the city following their meeting. In Bing's image of a carriage in Central park, the cropped dark outline of the carriage and its driver dominate the composition, providing a stark contrast to the wispy trees and gentle cityscape in the background – stylistically reminiscent of Stieglitz's work The Terminal (1892). Bing also absorbed the styles of other contemporary American artists – some of whom she met through Stieglitz. Her street scenes, for example Barber College, New York (1936), can be likened to scenes from contemporary American realist painting. After returning to Paris in 1937, Bing married the German pianist Konrad Wolff, whom she had met in 1933 when they lived in the same block of flats. Bing kept her maiden name for her photographic activities, but also used the name Ilse Bing Wolff. She took fewer photographs during the late 1930s, though she continued to find inspiration in Paris, and explored different subject-matter, including still life work. The outbreak of the Second World War changed everything. In 1940 Bing and Wolff, who were both Jewish, were forced to leave Paris and were interned in separate camps in the south of France. Bing spent six weeks in a camp in the Pyrenees, before rejoining her husband in Marseille. The couple spent nine months there, awaiting visas for the US. Eventually, with the support of the fashion editor of Harper's Bazaar, they were able to leave for the US in June 1941. Although Bing had managed to take her negatives with her, she left all of her prints behind in Paris under the safekeeping of a friend. They were sent on to Marseille but Bing and her husband had left already France by the time they arrived. The prints remained in Marseille – in a shipping company's warehouse – miraculously missing the many bombs that fell on the port, until the end of the War, when they were finally sent to Bing in New York. Tragically, when they arrived, Bing was unable to pay the customs duty for all of them. She had to sift through the prints and decide which to keep and which to throw away – some of her most important vintage prints were lost at this time. Five years after her successful visit to New York in 1936, Bing returned to an altogether different environment. This was partly due to changing fashions in photography, and partly because of the large number of photographers who had, like Bing, fled Europe and were now seeking work. Bing found it hard to gain commissions for reportage work and worked much less as a photojournalist from this point on, though she continued to take portraits – especially of children – and exhibited her work throughout the late 1940s and early 1950s. Bing returned to Paris twice after the war, in 1947 and in 1952, and once again photographed the city that she had loved so much in the 1930s. According to Bing, these later Paris photographs are infused with a different spirit. Influenced by the war, she saw things on a more impersonal, isolated level. In the late 1950s, Bing eventually gave up photography, wanting to make more abstract work through poems and line drawings, and later, collage.Source: Victoria and Albert Museum
Marcos Zegers
Marcos Zegers
Chile
1987
"I am a Chilean photographer, with a background in architecture and with a strong interest in geopolitical, territorial and migration conflicts. My work focuses on long-term documentary projects in which I illustrate urgent situations through a careful and studied proposal. My work has been exhibited in Chile (Animal, Ekho Gallery), and fairs in London, Paris, Shanghai and New York and I participated in photo festivals as PhotoEspaña (Esp), Format (UK) and FIFV (Chile). Recently my documentary project was published on The New York Times which gave me the opportunity to start working as a freelancer for the same newspaper. I teach at the University Diego Portales in Chile where I currently live." About Mining and Exodus in the Atacama Desert This visual essay is the narrative of an endless journey through the desert and the Andes Highlands in Bolivia and Chile. A paused and deep journey through places full of memory. What appears to be photographs of elements randomly dispersed throughout the territory, when consciously grouped together, are transformed into a linear narrative linked to the extractive era. Like a map that is revealed in parts, a harsh story uncovers the relationship between mining activities and cultural displacements, all united under a common element in dispute, water. Following the course of the extractive history of colonial Latin America, what was rubber in Iquitos, cane in the Caribbean, gold in Guanajuato, or silver in Potosi, in Chile was the nitrate (saltpeter). For almost two centuries, the Atacama Desert has been a constant source of mineral resource extraction. The "Saltpetre Offices" has left the mark of an era of wealth and exploitation. Today the situation repeats itself as an exact cycle: what was nitrate, passed to copper, and today, it turns to lithium. Right in the middle of this extractive history are the woman and the man who inhabited the territory. On the one hand, there is the Aymara woman who walks and grazes the cattle in the Andean mountain range. She has not seen the face of the mining company. However, they critically meet in the use of the same resource: water. The excessive water consumption by mining companies has dried the soil, making livestock and agriculture unviable. Consequently, the highlands man has been forced to go down to work in the city, where possible, the job to which he aspires, is precisely in mining. This uncovers a vicious circle which is greatly enhanced by the government's lack of attention to these isolated areas. The risk is profound. The desert has not been completely unravelled. It continues to have lots of minerals, and at the same time, it stalks a climate change that will not stop any time soon. In Chile the water is sold, the water rights belong to private. This situation has alarmed the inhabitants of this territory, amongst organizations and activists who wage real legal battles in the courts. This visual essay, far from addressing the issue on all its extents, seeks to contribute to the latent conversation about extractive practices and the current economic model in Chile. To bring back this apparently scenic desert to an urgent reality, promoting a reflection that contributes to the appreciation of rural territory and its culture.
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