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Alberto del Hoyo Mora
Alberto del Hoyo Mora
Alberto del Hoyo Mora

Alberto del Hoyo Mora

Country: Spain
Birth: 1979

Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography.

His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people.

In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley

Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas.

Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity.

About Mystic Valley

Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage".

Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men.

Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him.

From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety.

Portraits of the fragility of a female childhood subrogated to warriors of honor.

Portraits of his reality.

It is vast, silent. Magical. Omo Valley
Selected Books on Available on Amazon
Mystic Valley
Mystic Valley

Website

albertodelhoyo.com

 

Selected Books

Mystic Valley
Mystic Valley
Alberto del Hoyo Mora

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
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More Great Photographers To Discover

Mariëtte Aernoudts
Mariëtte Aernoudts
Netherlands
1956
My name is Mariëtte Aernoudts and since 9 years I am a self thought photographer/ imagemaker. Most of my portraits are from children or young people and always in colour. I work very intuitive and during a shoot my ideas are becoming unstoppable. Except my portraits I create my own imaginary world using my storytelling images. I try to soften the realistic life. I am always looking for renewal, with my own feelings which I want to connect in my photos. I received several dutch prizes and in 2018 I won an award in SIPA contest Siena Italy. Last February one of my photos was nominated for the Sony World Photography awards. My Statement: 'What I see is what you get'
William Henry Fox Talbot
William Henry Fox Talbot
United Kingdom
1800 | † 1877
William Henry Fox Talbot was born on 11 February 1800 in Melbury, Dorset, into a well-connected family. His father died when he was less than a year old and he and his mother lived in a succession of homes until she remarried in 1804. Talbot went to Cambridge University in 1817. In 1832, he married Constance Mundy and the same year was elected as MP for Chippenham. In 1833, while visiting Lake Como in Italy, his lack of success at sketching the scenery prompted him to dream up a new machine with light-sensitive paper that would make the sketches for him automatically. On his return to England, he began work on this project at his home at Lacock Abbey in Wiltshire. Thomas Wedgwood had already made photograms - silhouettes of leaves and other objects - but these faded quickly. In 1827, Joseph Nicéphore de Niepce had produced pictures on bitumen, and in January 1839, Louis Daguerre displayed his 'Daguerreotypes' - pictures on silver plates - to the French Academy of Sciences. Three weeks later, Fox Talbot reported his 'art of photogenic drawing' to the Royal Society. His process based the prints on paper that had been made light sensitive, rather than bitumen or copper-paper. Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the 'calotype' and patented the process in 1841. The following year was rewarded with a medal from the Royal Society for his work. Fox Talbot was also an eminent mathematician, an astronomer and archaeologist, who translated the cuneiform inscriptions from Nineveh. He died on 11 September 1877. Source: BBC
Saul Leiter
Saul Leiter
United States
1923 | † 2013
Saul Leiter was an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as the New York school of photography. Saul Leiter was born in Pittsburgh, Pennsylvania. His father was a well-known Talmud scholar and Saul studied to become a rabbi. His mother gave him his first camera at age 12. At age 23, he left theology school and moved to New York City to become an artist. He had developed an early interest in painting and was fortunate to meet the Abstract Expressionist painter Richard Pousette-Dart. Pousette-Dart and W. Eugene Smith encouraged Leiter to pursue photography and he was soon taking black and white pictures with a 35 mm Leica, which he acquired for a few Eugene Smith prints. In 1948, he started taking color photographs. He began associating with other contemporary photographers such as Robert Frank and Diane Arbus and helped form what Jane Livingston has termed the New York School of photographers during the 1940s and 1950s. Leiter worked as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova. In the late 1950s the art director Henry Wolf published Leiter’s color fashion work in Esquire and later in Harper's Bazaar. Edward Steichen included Leiter’s black and white photographs in the exhibition Always the Young Stranger at the Museum of Modern Art in 1953. Leiter’s work is featured prominently in Jane Livingston’s book The New York School (1992) and in Martin Harrison’s Appearances: Fashion Photography since 1945 (1991). In 2008, the Fondation Henri Cartier-Bresson in Paris mounted Leiter's first museum exhibition in Europe with an accompanying catalog. Leiter is the subject of a 2012 feature-length documentary In No Great Hurry - 13 Lessons in Life with Saul Leiter, directed and produced by Tomas Leach. Leiter is a featured subject, among others, in the documentary film Tracing Outlines (2015) by 2nd State Productions. Martin Harrison, editor and author of Early Color (2006), writes, "Leiter’s sensibility . . . placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances." Leiter died on 26 November 2013 in New York City.Source: Wikipedia When we do not know why the photographer has taken a picture and when we do not know why we are looking at it, all of a sudden we discover something that we start seeing. I like this confusion. -- Saul Leiter Leiter’s first exhibition of color photography was held in the 1950s at the Artist's Club, a meeting place for many of the Abstract Expressionist painters of that time. Edward Steichen included twenty-three of Leiter's black and white photographs in the seminal 1953 exhibition Always the Young Stranger at the Museum of Modern Art; he also included twenty of Leiter’s color images in the 1957 MoMA conference Experimental Photography in Color. In the late 1950s, the art director Henry Wolf published Leiter's color fashion work in Esquire and later in Harper's Bazaar. However, over the next four decades, Leiter’s noncommercial work remained virtually unknown to the wider art world. He continued to work as a fashion photographer through the 1970s, contributing to such publications as in Show, Elle, British Vogue, Queen, and Nova. Leiter is now held to be a pioneer of early color photography, and is noted as one of the outstanding figures in post-war photography. After several exhibitions at Howard Greenberg Gallery throughout the 1990s, Leiter’s work experienced a surge of popularity after a monograph, Early Color, was published by Steidl in 2006. Early Color was followed by a series of monographs and international exhibitions highlighting the depth and scope of his work in photography and painting, beginning with In Living Color (2006), his first major retrospective at the Milwaukee Museum of Art. Leiter was the subject of several solo shows thereafter, including the Fondation Henri Cartier-Bresson, Paris; the Jewish Historical Museum, Amsterdam; Musée de l’Elysée, Lausanne; and Diechtorhallen, Hamburg.Source: Howard Greenberg Gallery Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness. -- Saul Leiter
Lola Álvarez Bravo
Lola Álvarez Bravo
Mexico
1907 | † 1993
Lola Álvarez Bravo was a Mexican photographer. She was a key figure (along with Tina Modotti, Frida Kahlo, Diego Rivera and her husband Manuel Álvarez Bravo) in Mexico's post-revolution renaissance. She was born Dolores Martinez de Anda to wealthy parents in the state of Jalisco. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother, living nearby in Mexico City. It was here that she met the young Manuel Álvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Lola Álvarez Bravo became pregnant but before she gave birth, they returned to Mexico City. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught her to develop film and make prints in the darkroom. As he became more serious about pursuing a career in photography, she acted as his assistant, although she also harbored a desire to become a photographer in her own right. The Álvarez Bravo's separated in 1934 but she decided to maintain the Álvarez Bravo name. Lola Álvarez Bravo needed to support herself and taught as well as worked in a government archives. She also continued to experiment with photography and in 1936 received her first real commission photographing the colonial choir stalls of a former church. She also worked in commercial photography, including advertising and fashion. She was the director of photography at the National Institute of Fine Arts. She opened an art gallery in 1951 and was the first person to exhibit the work of Frida Kahlo in Mexico City. She also taught photography at the Academia de San Carlos in Mexico City. Inspired by such photographers as Edward Weston and Tina Modotti, Álvarez Bravo established her own independent career. For 50 years, she photographed a wide variety of subjects, making documentary images of daily life in Mexico's villages and city streets and portraits of great leaders from various countries. She also experimented with photomontage.Source: Wikipedia Born Dolores Martínez in Jalisco, Mexico, Lola Álvarez Bravo was one of Mexico’s most important photographers. Like other women artists linked with famous male counterparts, her work has often been overshadowed by that of her husband, renowned photographer Manuel Álvarez Bravo. They married in Mexico City in 1925 just as Manuel’s photography practice began to develop. Manuel introduced Lola to the camera, the darkroom, and photography techniques, and she assisted him with developing and printing his images. They shared equipment when Lola began taking her own photographs, although Lola recalled Manuel’s impatience when she wanted to use the camera. In 1927 their son Manuel was born and they opened a photography gallery in their Mexico City home. The couple played a vital role in the cultural circle that included artists Diego Rivera, Frida Kahlo, Rufino Tamayo, Maria Izquierdo, and David Alfaro Siquerios. Lola continued to take photographs but her work always came second to Manuel’s development as an artist. They separated in 1934 and Lola turned to photography to support herself and her seven-year-old son. Stubbornly independent, her camera became both her livelihood and her means of portraying what she explained as “the life I found before me.” She traveled throughout Mexico photographing people in everyday circumstances with honesty and respect. Her assured formal aesthetic, which often bordered on the abstract, included strong compositional elements, crisp details, and the play of light and shadow on surfaces. Most often Lola Álvarez Bravo eschewed posing subjects or staging situations. Instead, she moved amongst the people along cluttered streets, observing them at work, in the marketplace, and at leisure, waiting for opportunities to capture informal moments in carefully composed scenes. Her keen eye produced stirring and expressive images of Mexican life with a contemporary sensibility that places her among the renowned photographic interpreters of that country in the modern period: Edward Weston, Paul Strand, Tina Modotti, and Manual Álvarez Bravo. During her long career, Lola Álvarez Bravo worked as a photojournalist, commercial photographer, professional portraitist, political artist, teacher, and gallery curator. Despite her professional success, it is her personal photography that marks her most significant contribution to the history of the medium. While working professionally she culled a small, core group of photographs she would refer to as her personal work, “mis fotos, mi arte.” The photographs in the Center’s collection are among those she most valued and are in the spirit of that distinction. Her direct, uncompromising, and impassioned studies of the Mexican people offer an important chapter to the history of photography, both as creative force and indelible subject matter. The Center acquired the Lola Álvarez Bravo Archive in 1996. It includes her negatives and nearly 200 gelatin silver photographs, 100 of which were selected by Lola Álvarez Bravo in 1993. An additional 100 photographs were selected by the Center in consultation with the artist. © Artists Rights Society (ARS)Source: Center for Creative Photography
Claire Droppert
Claire Droppert
Netherlands
"My name is Claire Droppert, 35 yrs. A freelance photographer/graphic designer based in Rotterdam. In my work, I'm inspired by combinations of simplicity and minimalism, special places, and new editing techniques. My activities: digital art, digital imaging, digital photography, graphic design and photo manipulation." About Dutch Mountains series: The Netherlands is an extreme flat country where mountains barely exist. Why not have descent mountains in the Netherlands? Size doesn’t matter. Dutch mountains is a series of photographs that visualizes big piles of coal storage, located in an industrial port area in The Netherlands. Each mountain is named after its altitude in millimeters. The dramatic atmosphere you find in these series were inspired by dark volcanic rock sceneries, combined with shapes often to be found on places where flood basalts have occurred.
Julian Wasser
Julian Wasser
United States
1938
Julian Wasser started his career in photography in the Washington DC bureau of the Associated Press. While at Associated Press he met Weegee and rode with the famous news photographer as he shot photos of crime scenes in Washington. Weegee was a major influence on Wasser’s style of photography. After serving in the Navy in San Diego the former AP copyboy became a contract photographer for Time Magazine in Los Angeles doing assignments for Time, Life, and Fortune. His photographs have appeared in and been used as covers of Time, Newsweek, and People magazines in the United States. He has done cover assignments for The Sunday Telegraph, and The Sunday Times colour supplements in London. His photos have appeared in US Magazine, Vanity Fair, TV Guide, Paris Match, Der Spiegel, Oggi, Hello, Playboy, Elle, Vogue, and GQ and in exhibitions in galleries and museums.Source: www.julianwasser.com Perhaps his most notorious photo session was of groundbreaking artist Marcel Duchamp playing chess with a naked Eve Babitz in 1963 at the Pasadena Museum of Art during Duchamp’s first retrospective. Organized by Walter Hopps, then director of the museum (now the Norton Simon Museum), the exhibition was the first comprehensive survey of Duchamp’s storied career, which began in 1911 at the legendary Armory show in New York. Duchamp, by this time, was the most influential artist in the world, having revolutionized the modern art world with his unconventional concepts. At the time, he had retired from being an artist to pursue his passion for chess. His numerous works had never been shown collectively, and the landmark show is still considered to be one of the seminal exhibitions of all time. The opening night was a who’s who of the most highly-regarded artists and collectors of the era, and effectively inaugurated the establishment of the Pop art movement. Among the group of up-and-coming artists who attended were Andy Warhol, Billy Al Bengston and Ed Ruscha.Source: Juxtapoz In 1963 a long overdue retrospective for Marcel Duchamp, arguably the most significant and influential artist of the 20th century was held at the Pasadena Art Museum. The exhibition, curated by art world renegade and acting museum director, Walter Hopps, was Duchamp’s very first museum retrospective in the United States and a coup for the West Coast art world. Having produced some of the most groundbreaking examples of conceptual art since the early part of the century, Duchamp was a legendary figure by the 1960s and his presence in California was a pivotal moment in L.A. history and lore. Artists and luminaries including Ed Ruscha, Billy Al Bengston, Larry Bell, Dennis Hopper and a very boyish Andy Warhol flocked to the opening gala of Duchamp’s retrospective and Time Magazine sent L.A. based photographer, Julian Wasser to cover the event. At the time, Wasser, who began his career as a teenager shooting crime scenes in Washington D.C., was unaware of Duchamp’s significance in the pantheon of art. But known for being in the right place at the right time and catching formative moments in L.A. history with an unmistakable eye, Wasser not only captured the energy of Duchamp’s opening reception, but produced several of the most iconic pictures of the artist ever made. Duchamp posing next to his groundbreaking readymade Bicycle Wheel, originally conceived in 1913 and Duchamp playing chess with a nude Eve Babitz were among the images Wasser took while on assignment. Though Time never published Wasser’s pictures, the latter photograph, inspired by one of Duchamp’s master paintings Nude Descending a Staircase and the artist’s obsession with chess, went on to become one of the most recognizable staged photographs of the 20th Century. The exhibition Julian Wasser : Duchamp in Pasadena Revisited brought the quintessential photographs of Julian Wasser, together with an installation of appropriated works of art produced primarily by L.A. based artist Gregg Gibbs to create an exclusive experience of the 1963 Duchamp retrospective at the Pasadena Art Museum. Works on view originally produced by Duchamp and appropriated by Gibbs included early works such as Bicycle Wheel, Nude Descending a Staircase, I.H.O.O.Q, 1919; With Hidden Noise, 1916, and one of Duchamp’s masterworks (The Large Glass) The Bride Stripped Bare of Her Bachelors, Even 1915-1923. The piece de resistance was a life-sized recreation of Wasser’s now-infamous photograph of Marcel Duchamp and Eve Babitz playing chess at the museum in 1963.Source: Robert Berman Gallery
Vincent Karcher
Vincent Karcher
France/Canada
1990
Vincent is a Portrait and Documentary Photographer. Nomad for the last decade, he settles sometimes and reflects on his journeys, at a base camp in the Rocky Mountains. Mostly continuously on a move. Educated in photography back in Montreal. He lives now with the sun most days, sometimes the moon too. His work of environmental portraits observe cultures and contemplate humans across the globe. Over the years he created an interesting archive of portraits, documenting and looking at different parts of the world on diverse themes and objects. Colors paint clearly the frame intentionally as black and white use to be his esquisses. He also looks partially at other subjects. Always work in progress.
Nieves Mingueza
Nieves Mingueza
Spain
Nieves Mingueza is a lens-based, mixed media artist working with experimental photography, collage and text. Born in Spain, based in London. The often-cinematic themes in her projects have in common her fascination with old books, film stills, vintage cameras, poetry and minimal drawings. Ultimately, Nieves' work is about the foggy relationship between fiction and reality. In addition, she is currently exploring about immigration, mental health and human conflicts. Nieves' work has been exhibited widely, including Copeland Gallery -Peckham 24-, les Rencontres Internationales de la Photographie d'Arles, Fondazione Giorgio Cini, Retina Scottish International Photography Festival, The Royal Academy of Arts, PhotoEspaña, Saatchi Gallery and Tate Britain. Publications that have featured her work include Editorial 8mm, Fisheye magazine, Der Greif magazine, Low Light Magazine, Shots magazine, Eyemazing, Sarmad Magazine, YET Magazine and L'oeil de la photographie, among others. Lens Culture also featured a selection of her works. Recently, in July 2019, her first monograph book was released by IIKKI Books Editorial. About The malady of Suzanne "A few months ago, I moved to my new flat in South London. Once settled in my new home, I realised that the building had previously been a mental health hospital. In this hospital, people with mental health issues were treated and helped to reintegrate into society. One night, I was relaxing, reading in my living room. There was a sepulchral silence, and suddenly I heard a noise coming from the ceiling. I was scared and I noticed that there was a small loft. The next day, a neighbour helped me open the loft. Unexpectedly, we found a suitcase that contained photos, letters and documents that had belonged to a woman named Suzanne. Reading her letters, I learned that she was a Vietnamese woman who had been a teacher in her home country. There, she fell in love with an Englishman, and finally they decided to move to London together. This happened in 70s. Apparently she began to experience signs of a rare disease: loss of speech and isolation behaviour. I also found out from her documents that she had changed her name in London, because her real name was very difficult to pronounce for English people. She called herself Suzanne in honour of Leonard Cohen's song. By combining found archives with my documentary photography work, I am exploring the story of a Vietnamese female with mental issues in 70's London. This is an on-going project about the complex relationship between memory, immigration, mental health and human conflicts. Additionally, is there any reciprocation between Suzanne and myself? We have both lived in the same space. I am an immigrant in London, I work in a school, and I have modified my name because it was difficult for my students to pronounce. I also love silence. " -- Nieves Mingueza
Gerda Taro
Gerda Taro
Germany
1910 | † 1937
Gerda Taro, a pioneering figure in the world of photojournalism, illuminated the harrowing realities of conflict through her lens. Born Gerta Pohorylle on August 1, 1910, in Stuttgart, Germany, she would later adopt the pseudonym "Gerda Taro" as she ventured into the tumultuous landscape of war-torn Europe during the 1930s. Taro's journey into photography began as she fled Nazi persecution, seeking refuge in Paris. It was there that she crossed paths with fellow photographer Robert Capa, sparking a creative and romantic partnership that would shape both their lives and redefine the boundaries of photojournalism. Together, Taro and Capa embarked on a mission to document the Spanish Civil War, a conflict that would serve as a crucible for their artistic and ideological convictions. Working under the banner of "Robert Capa and Gerda Taro," they captured the raw intensity of battle, immortalizing the struggles of Republican forces against the backdrop of Franco's fascist regime. Despite the dangers inherent in their profession, Taro fearlessly ventured into the heart of the conflict, often disregarding personal safety in pursuit of the perfect shot. Her images exuded a sense of urgency and immediacy, offering a stark reminder of the human cost of war and the resilience of the human spirit in the face of adversity. Tragically, Taro's life was cut short at the tender age of 26 when she was struck by a tank during the Battle of Brunete in July 1937. Her untimely death sent shockwaves through the world of photojournalism, serving as a sobering reminder of the risks faced by those who bear witness to history's most tumultuous moments. Though her life was brief, Gerda Taro's impact on the world of photography endures as a testament to her courage, compassion, and unwavering commitment to truth-telling. Her images continue to serve as a powerful reminder of the human toll of conflict, inspiring future generations of photographers to wield their cameras as instruments of social change and justice. As we reflect on the legacy of Gerda Taro, we are reminded of the profound significance of bearing witness to history's darkest chapters and the enduring power of images to shape our understanding of the world and ignite the flames of empathy, compassion, and solidarity across borders and generations.
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