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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

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More Great Photographers To Discover

Leonard Freed
Leonard Freed
United States
1929 | † 2006
Leonard Freed was a documentary photojournalist and longtime Magnum member. He was born to Jewish, working-class parents of Eastern European descent. Freed had wanted to be a painter, but began taking photographs in the Netherlands and discovered a new passion. He traveled in Europe and Africa before returning to the United States where he attended the New School and studied with Alexey Brodovitch, the art director of Harper's Bazaar. In 1958 he moved to Amsterdam to photograph its Jewish community. Through the 1960s he continued to work as a freelance photojournalist, traveling widely. He documented such events and subjects as the Civil Rights movement in America (1964–65), the Yom Kippur War in 1973, and the New York City police department (1972–79). His career blossomed during the American civil rights movement, when he traveled the country with Martin Luther King, Jr. in his celebrated march across the US from Alabama to Washington. This journey gave him the opportunity to produce his 1968 book, Black in White America, which brought considerable attention. His work on New York City law enforcement also led to a book, Police Work which was published in 1980. Early in Freed's career, Edward Steichen purchased three photographs from Freed for the collection of the Museum of Modern Art.[ In 1967, Cornell Capa selected Freed as one of five photographers to participate in his "Concerned Photography" exhibition. Freed joined Magnum Photos in 1972. Publications to which Freed contributed over the years included Der Spiegel, Die Zeit, Fortune, Libération, Life, Look, Paris-Match, Stern, and The Sunday Times Magazine of London. In later years, Freed continued shooting photographs in Italy, Turkey, Germany, Lebanon and the U.S. He also shot four films for Japanese, Dutch and Belgian television.Source: Wikipedia Born in Brooklyn, New York, to working-class Jewish parents of Eastern European descent, Leonard Freed first wanted to become a painter. However, he began taking photographs while in the Netherlands in 1953, and discovered that this was where his passion lay. In 1954, after trips through Europe and North Africa, he returned to the United States and studied in Alexei Brodovitch's 'design laboratory'. He moved to Amsterdam in 1958 and photographed the Jewish community there. He pursued this concern in numerous books and films, examining German society and his own Jewish roots; his book on the Jews in Germany was published in 1961, and Made in Germany, about post-war Germany, appeared in 1965. Working as a freelance photographer from 1961 onwards, Freed began to travel widely, photographing blacks in America (1964-65), events in Israel (1967-68), the Yom Kippur War in 1973, and the New York City police department (1972-79). He also shot four films for Japanese, Dutch and Belgian television. Early in Freed's career, Edward Steichen, then Director of Photography at the Museum of Modern Art, bought three of his photographs for the museum. Steichen told Freed that he was one of the three best young photographers he had seen and urged him to remain an amateur, as the other two were now doing commercial photography and their work had become uninteresting. 'Preferably,' he advised, 'be a truck driver.' Freed joined Magnum in 1972. His coverage of the American civil rights movement first made him famous, but he also produced major essays on Poland, Asian immigration in England, North Sea oil development, and Spain after Franco. Photography became Freed's means of exploring societal violence and racial discrimination. Leonard Freed died in Garrison, New York, on 30 November 2006.Source: Steven Kasher Gallery
Misa Ato
Misa Ato
France
1964
The reasons that guided me to start in the field of photography are partly enigmatic. But from the moment I had a camera in my hands, I never left it. Very quickly the possibilities offered by this reflex were there to satisfy my creativity. Architect by training, I stopped my liberal activity in 2018 to devote myself to photography. Self-taught in photography, I spend enough time documenting myself and discovering what touches me in the photographs of great photographers. The rest of the time I photograph. Despite the little perspective that I have on my work, I manage to perceive intentions, creativity, expression that allow to make visible what my feelings and my eyes perceive. Finally, through travel, travel, meetings, the notion of sharing remains the culmination of my work. Black and white has established itself as a reference for my projects, knowing by a pictorial approach the color, I was too wary of the impact of color on a photo which all too often attracts the eye at the expense of the subject or the background. Black and white allows me to geometrically compose my subject which is enriched with light and an infinite range of shades of gray. I often look for a model, a subject, refined, simple, often abandoned places, vacant stripped of activities and person, not to erase them, more to suggest them and strengthen their presence by their absence.
Alessandro Puccinelli
Alessandro Puccinelli
Italy
My earliest professional experience dates from 1993 when I moved to Australia, as an assistant in advertising photography. Returning to Italy a few years later, I chose to concentrate my attention on commercial photography and personal work. At the age of 16 I had the great good fortune, especially living in Italy, a country not widely known for big waves, of discovering the joy of surfing. From that moment forward was born a strong link with the sea that still today profoundly influences my life choices, both professionally and personally. The presence of the sea in my daily life represents something extremely important to me onto which I project fear, dreams, hope and receiving in return inner strength and mental clarity. The choice of placing the sea centre stage in my life positively affects my personal work which, in truth, is born from this choice. In short, it is the place above all other places where I prefer to be. In an entirely natural way, in my personal work there has evolved a current of romanticism, reflected above all others in my love of the work of J.W Turner. This does not surprise me as with the sea I co habit with the virtues of force, elegance and simplicity. I recognise the sea in front of me as my ancestral home, it’s force and vastness make me feel small and vulnerable, yet, at the same time, it indicates to me a pathway, an example to follow or even a point of arrival. In 2008, motivated by the desire to remain in close contact with the ocean, I decided to divide my time between Italy and Portugal. Attracted by this country, bathed by a stupendous and vigorous sea, I found a good balance between a European lifestyle and a strong contact with nature. Today, I principally divide my time between Tuscany, Lisbon and the southern coast of Portugal where frequently I take refuge in my motorhome hideaway in search of intimacy with the ocean. My works have been recognized in many photography awards including, Sony World Photography Awards, International Photography Awards, Black and White Photography Awards, Hasselblad Masters and others.
Juan Cruz Olivieri
Juan Cruz Olivieri
Argentina
1980
Juan Cruz Olivieri was born in 1980 in Zárate, Buenos Aires Province, Argentina, where he currently resides. Although he is an electrical engineer by profession, his passion for photography emerged in 2012. His most notable work revolves around gaucho culture, deeply influenced by childhood memories and travels with his father through the Buenos Aires countryside. In series such as Gauchos and Silent Inhabitants, Olivieri portrays Argentine rural life with sensitivity and authenticity, capturing not only faces but also the soul of his subjects. For Olivieri, photography is a way to preserve cultural heritage: “It’s not just an artistic expression, but a way to perpetuate our traditions.” His intimate and unembellished style seeks to move away from the idealized image of the gaucho, instead revealing its mystical and resilient essence. Summary of the “Gauchos” Series The gauchos in Argentina are emblematic figures, representing the men who conquered the pampas. In my work, I strive to create intimate photography, stepping away from the role of the intrusive outsider to become a confidant in a story told through light and shadow. I distance myself from the typical idealized images that viewers expect, allowing the mystical and rugged identity of gaucho culture to emerge through a sense of closeness and spontaneous naturalness. Each photo is free of ornamental pretension, and its magnetic power lies in the determined way the gauchos position themselves before the camera—resolved to reveal more than just their faces: the living soul of the life they embrace. Awarded Photographer of the Week - Week 33, 2025
Mahesh Balasubramanian
Mahesh Balasubramanian
India
1973
Mahesh is an Independent Photographer from Chennai, India. His works are published in various international magazines like National Geographic Traveler US, BLUR, Digital Photo UK, Wanderlust UK, Dodho, etc. He has won many international awards like National Geography Traveler Photo Contest, 1x, PX3, IPA, Siena Photo Awards, Monovisions Photo Awards, etc. Adobe has also chosen one of his photos for Adobe Lightroom as a Splash Screen (startup screen). Marina: Marina is the longest natural urban beach of India, along the Bay of Bengal. It is one of the major attractions in Chennai, India. Marina Beach is full of activity in the early morning hours and in the evenings. If we stroll along the beach, we could see kids playing cricket, volleyball matches, fish markets, flying kites and much more. It is also a pleasant experience to walk along the beach during sunrise and sunset. There is full of life at every corner of this place. I have been taking pictures in and around Marina for the past 8 years. I tried to document, the true essence of people activities in & around the beach in various time periods. I wanted to portray Marina Beach’s character and how important it is for people. The following set of pictures is my way of interpretation of Marina Beach, Chennai, India.
Berenice Abbott
Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
Lala Deen Dayal
Lala Deen Dayal
India
1844 | † 1905
Lala Deen Dayal, (famously known as Raja Deen Dayal) born in 1844 in Sardhana, Uttar Pradesh, is revered as one of India's most influential photographers. His journey into photography began after he completed his education in engineering at Thomason College of Civil Engineering (now IIT Roorkee). Initially working as a draftsman for the Public Works Department, Deen Dayal's interest in photography soon turned into a passionate pursuit, transforming him into a pioneer of the craft in India. In the late 19th century, when photography was still a nascent field, Deen Dayal's talent quickly garnered attention. He established his first studio in Indore, gaining the patronage of Maharaja Tukoji Rao II. His reputation for capturing intricate details and the essence of Indian life, architecture, and landscapes soon spread, leading to numerous commissions from Indian royalty and British officials. This period marked the beginning of his illustrious career, during which he documented India's rich cultural heritage with a distinctive artistic vision. Deen Dayal's photographic expertise reached new heights when he was appointed the court photographer for the sixth Nizam of Hyderabad, Mahbub Ali Pasha, in 1885. This prestigious position allowed him unparalleled access to the royal family and their opulent lifestyle. His photographs from this era are renowned for their exquisite composition and detail, providing a rare glimpse into the grandeur of princely India. Deen Dayal's work from this period includes portraits, architectural studies, and documentation of royal ceremonies, all characterized by their meticulous attention to detail. Throughout his career, Deen Dayal's contributions to photography extended beyond his royal commissions. He established studios in Mumbai, Indore, and Hyderabad, training a generation of Indian photographers and expanding the reach of professional photography in the country. His innovative techniques and commitment to quality earned him international recognition. In 1897, he was awarded the Royal Warrant by Queen Victoria, a testament to his exceptional skill and the impact of his work on a global scale. Lala Deen Dayal passed away in 1905, but his legacy endures through his extensive body of work that continues to be celebrated for its historical and artistic significance. His photographs are invaluable records of India's architectural and cultural history, capturing the essence of a bygone era with clarity and depth. Deen Dayal's pioneering spirit and dedication to his craft have left an indelible mark on the history of photography, establishing him as a true trailblazer in the field. His work remains a source of inspiration for photographers and historians alike, preserving the rich tapestry of 19th-century India for future generations.
Yanitsa Genova
Yanitsa Genova
Bulgaria
1984
Yanitsa Genova is a photographer, born in 1994 and raised in Bulgaria. The distance and time traveled open the doors to a world hidden within her. Huge and colorful, but often black and white. Filled with feelings and questions. And with constant quiet gratitude to everyone and everything. She questions the dogmas associated with “automated” photography and encourages slow art, contemplation, truth, and the origins of our reality. AAP Magazine: AAP Magazine 49: B&W
Janne Korkko
Janne Korkko
Finland
Photography means more to me than just doing it: it is as important as breathing and living. I switched in documentary shooting 10 years ago. Image has always been an important form of narrative but I wanted it to show the touch of life and humanity that define my ideas. Socially important and difficult topics that are approachable make me work. I feel I have a mission. I am proud and humbled as well as grateful. Things that have touched me, touched them, too. That is the stories, the interaction with people that developed to the eye to see. Night River We need to understand where we are and how we got here. Once we are clear on these issues we can move forward... (Thomas Berry) Rivers have river rights as well as humans have human rights. People, communities, environments, and nature have deep interrelated connection. A connection that is more complex than an ownership of land, a fishing permit, a cottage on the riverside, or a beautiful sundown on the opposite shore of the river. The name of the river in these photos is Iijoki. The name comes from an ancient word of Sami ('iddja', 'ijje'), which means 'night'. So, the name of this river is Night. Night-River flows through Yli-Ii, the riverside village, which belongs now to bigger city of Oulu. It means that there are no public services any more. The village is disappearing. Night-River is full of songs of memories, and its riverbanks are full of people with these memories. Some of them are sacred, silenced, or even untold. Usually it seems that nobody wants to remember the song of the unforgotten village - and the blocked river. But some of the songs are still alive, or they are waking up through the people, who are starting to re-member the song of the wild, free-flowing river. The landscape of the village, and the diversity and ecology of native nature, changed totally during the 1960s, when the river was dammed - and there were built many hydroelectric power-plants in it. The damming of the river was one of the biggest eco catastrophes in the area of North Finland. But it was also catastrophic for the whole society of the village and its families in many - maybe still unidentified and unconscious - ways. Nowadays the eco catastrophes is still going strong - in clearcutting and swamp ditching. But the second longest river in Finland - with its 150 rapids - is still alive under all the constructions, destructions of riverbeds, and hydroelectric dams. It lives also in peoples' minds and bodies, in their eyes and destinies, and maybe in their most hidden memories. It is singing its unique song. "Virpi Alise Koskela"
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All About Photo Awards 2026
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