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Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
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Davide Bertuccio
Davide Bertuccio
Davide Bertuccio

Davide Bertuccio

Country: Italy
Birth: 1991

Davide was born in Messina in 1991. He is a photojournalist based in Milan. He graduated with honors in 2016 at IED (Istituto Europeo di Design) at the school of visual arts in photography. Since the end of 2016, he focused on the theme of globalization, looking for stories that would give voice to the small realities crushed by that indefatigable desire for equality. In 2019 He decided to follow his passion for science and environmental problems with the realization of a work about the problem of plastic pollution in the Mediterranean Sea. Davide, inserted in 2014 among the 10 best under 25 Italian talents and nominated in 2019 by 6X6 World Press Photo Global Talent Program, has been published by National Geographic USA, National Geographic Italia, Il Reportage and his works received national and international awards.

Accross the River's Flow
Saxons are a community with German roots. Since XI century, together with Hungarians and Romanians, they’ve been living in the green heart of Romania. From this very land, a major migration is now taking place which marks the decline of centuries of history. Saxons are disappearing and their culture, their tongue and traditions along with them. “Across the river’s flow” aims to be a work about the disappearing of ethnic minorities, overwhelmed by the pace of modern life and by an ever-growing globalization. Saxons are an example of how authenticity is wiped out to make room for a fictitious daily routine and how entire ethnic groups and populations must surrender to outside forces such as racism.

Websites

davidebertuccio.com

www.instagram.com/davidebertuccio

 

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More Great Photographers To Discover

Josef Sudek
Josef Sudek
Czech Republic
1896 | † 1976
Josef Sudek was a Czech photographer, best known for his photographs of Prague. Sudek was originally a bookbinder. During The First World War he was drafted into the Austro-Hungarian Army in 1915 and served on the Italian Front until he was wounded in the right arm in 1916. Although he had no experience with photography and was one-handed due to his amputation, he was given a camera. After the war he studied photography for two years in Prague under Jaromir Funke. His Army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from 'painterly' photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants. Sudek's photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked "in the style of the times". Primarily, his personal photography is neo-romantic. Sudek's restored atelier in Prague – Újezd His early work included many series of light falling in the interior of St. Vitus cathederal. During and after World War II Sudek created haunting night-scapes and panoramas of Prague, photographed the wooded landscape of Bohemia, and the window-glass that led to his garden (the famous The Window of My Atelier series). He went on to photograph the crowded interior of his studio (the Labyrinths series). His first Western show was at George Eastman House in 1974 and he published 16 books during his life. Known as the "Poet of Prague", Sudek never married, and was a shy, retiring person. He never appeared at his exhibit openings and few people appear in his photographs. Despite the privations of the war and Communism, he kept a renowned record collection of classical music. (Source: en.wikipedia.org)
Scott M. Fincher
Scott M. Fincher
United States
1946
So what differentiates a portrait of a person from a picture of an object? Essentially nothing. A photographer's purpose is revelation. In the street or in the corporate suite the imperative is to take surfaces into the interior so that the viewer comes to understand something about what has been presented. This could be an aspect of personality or the structure of a design. In short, one can say no more than one can see. Early in my career, I used to fantasize that I could be a Beethoven of photography. The idea contradicts the central principle of the medium. What distinguishes photography from the other arts is time. Unlike music, which takes a single idea and expands it, photography interrupts the continuum and digests it into an exquisite moment where understanding, composition and action intersect. All this is expressed succinctly in poet e.e. cummings's introduction to his volume "Is Five": "I am abnormally fond of that precision which creates movement." In my eyes, photography also adheres to Francis Bacon's maxim, "The contemplation of things as they are without error, without confusion, without substitution or imposture is in itself a nobler thing than a whole harvest of inventions." That is why I love both nature and the street and quest for the image that sits on the cusp of the real and surreal. For the most part, I do not manipulate the images in the digital "darkroom" any more than I would have were I using techniques of the old "wet" darkrooms. Mostly, I adjust luminosity. My background is print journalism. I edited photography and foreign and national news for the Chicago Tribune and Chicago Sun-Times for many years before deciding to rededicate myself to my passion. It has been, as the great Edward Steichen once said about the photographic act, "Incredibly easy and impossibly difficult." Nevertheless, the results have been good, and I have won national, international and art fair awards since my return to photography in 2006. My images are in collections all over the U.S. and in Germany, Poland, Denmark and Venezuela. I hold a bachelor's in English from Northwestern University, Evanston, Ill., and have studied photography in too many workshops to enumerate. I live in Chicago.
Lucas Foglia
Lucas Foglia
United States
1983
Lucas Foglia grew up on a small family farm in New York and currently lives in San Francisco. His work focuses on the intersection of human belief systems and the natural world. He recently published his third book of photographs, Human Nature, with Nazraeli Press. Foglia exhibits internationally, and his prints are in notable collections including International Center of Photography, San Francisco Museum of Modern Art, and Victoria and Albert Museum. He photographs for magazines including Bloomberg Businessweek, National Geographic Magazine, and The New York Times Sunday Magazine. Foglia also collaborates with non-profit organizations including Sierra Club, The Nature Conservancy, and Winrock International. Source: lucasfoglia.com A Natural Order I grew up with my extended family on a small farm in the suburbs of New York City. While malls and supermarkets developed around us, we farmed and canned our food, and heated our house with wood. We bartered the plants we grew for everything from shoes to dental work. But, while my family followed many principles of the back-to-the-land movement, by the time I was eighteen we owned three tractors, four cars, and five computers. This mixing of the modern world into our otherwise rustic life made me curious to see what a completely self-sufficient way of living might look like. From 2006 through 2010, I traveled throughout the southeastern United States befriending, photographing, and interviewing a network of people who left cities and suburbs to live off the grid. Motivated by environmental concerns, religious beliefs, or the global economic recession, they chose to build their homes from local materials, obtain their water from nearby springs, and hunt, gather, or grow their own food. All the people in my photographs aspire to be self-sufficient, but no one I found lives in complete isolation from the mainstream. Many have websites that they update using laptop computers, and cell phones that they charge on car batteries or solar panels. They do not wholly reject the modern world. Instead, they step away from it and choose the parts that they want to bring with them. Frontcountry The American West is famous for being wild, even though its rural areas have been settled for generations. The regions I photographed between are some of the least populated in the United States. In rural Nevada, there are still twice as many cows as there are people. While the ranchers I met were struggling to survive the economic recession and years of drought, almost anyone could get a job at the mines. Coal, oil, natural gas, and gold were booming. Ranching and mining in the American West have had parallel histories and a common landscape. Cowboys and ranching culture are the chosen representatives of the region. Men on horseback ride through countless movies. Their images are printed on license plates and tourist souvenirs. But, the biggest profits are in mining. Though miners haven't found any raw nuggets for generations, the American West remains one of the largest gold producing regions in the world. Companies are digging increasingly bigger holes to find smaller deposits, leaving pits where there once were mountains. When I first visited, I expected cowboys to be nomads, herding animals on the edge of wilderness. I quickly learned that most ranchers have homes with mortgages. I also learned that all mines close eventually. When a mine closes, the land is scarred. The company leaves and people have to move. Miners are the modern-day nomads, following jobs across the country.
Julie Fowells
Julie Fowells
United States
1966
Julie Fowells grew up in the kind of small town every teenager wants to get out of, and now spends much of her time trying to document things that suggest the kind of life she left behind. Her work primarily explores the tension between the natural world and humanity’s shadow over it, attempting to capture our collective desire to experience it, our efforts to contain/control it, and our attempts to push it aside. She received a BA in Aesthetics from Occidental College and the University of Sussex, and an MFA in Photography/Fine Art from the California Institute of the Arts. Based in Los Angeles, she currently works as a freelance photographer, producing images for clients as diverse as Virgin Records, Sunset Publishing, Proctor and Gamble, and many non-profit institutions. In addition to numerous group shows, she's had solo exhibitions in Los Angeles, New York, and London.
Sergey Zubov
Sergey Zubov
Russia
1983
Russian photographer, born in Velizh, Smolensk region, on the 9th of March,1983. "I finished school of art, college, studied at university. Currently, I am a photographer. I also take part in city exhibitions, and I have organized 3 personal photo exhibitions. I am a participant of various Russian and International photo contests. I am a member of the Union of photographers of Russia."
Jim Esposito
Jim Esposito
United States
Jim Esposito is a commercial photographer based in Caldwell, NJ. He has been shooting commercially for the past 20 years for a variety of corporations and advertising agencies. Being in such a diverse market has conditioned him to shoot both people and still life for his commercial work. Jim loves the aspects of each and finds ways to express his vision differently with every assignment.
Matthew Portch
Matthew Portch
United Kingdom
1970
I was born and raised in Bristol, England through the '70s and '80s in a typical suburb. As a child, television and movies were my favourite distraction, especially anything from the United States. The backdrop of the North American scenery felt like an exotic antidote to the humdrum of the English city suburbs and countryside. I was a keen illustrator spending hours pouring over the minutia of the subject matter. I wanted my drawings to feel as close to reality as possible. This work saw me enrolled in college at a young age where I studied Photography and Graphic Design. Drawing on my childhood memories, the visuals of the American landscape remained a major influence on my photography. I became inspired by North American photographers of the '60s and '70s who were prevalent in using large format film. This laborious system of capture enhanced these seemingly ordinary looking street scenes and vistas with fastidious detail. I discovered a more modern process in the form of a technical camera, digital back, and precision optics, then proceeded to cast my own journey. I like my pictures to be aesthetically simple, clean and graphic, which resonates with my background in design. I prefer the images to retain an air of perplexity, so keeping them free of people and any notable present-day object helps suspend them in a moment in time. As with most large format photography techniques, when I photograph a scene I capture everything across the frame in complete focus. This can lend a heightened sense of reality. Given each picture is deliberately simple and mundane – the detail of the capture is just as important as the subject matter and becomes a character of the image in itself. I use the full size of the sensor and prefer not to crop. Restricting myself to this discipline is almost a digital reverence to large format film. My creative vision is to capture a calm and melancholic disposition in the landscape and create a scene of discernible simplicity to evoke an emotional and response from within. About Lost America Lost America examines a quiet stillness in a forgotten landscape that is, in a sense: 'on-pause'. Backwater towns and rural corners are juxtaposed with the ambiguity of detached suburbia. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in their appearance, the images aim to unlock a moment of reflective contemplation and instil a melancholic feeling of familiarity. One might not notice or acknowledge these spaces, especially when viewed within the vast stretch of America's panorama. Yet, when framed as a single vignette, the places can appear to echo a moment of mournful reverie. Or, for some, they might behold an alluringly sombre, everlasting impression.
Thomas Hofmann
Thomas Hofmann
Germany
1974
I was born in 1974 in East Germany and studied tax law. For job-related reasons, I live in Berlin, Germany, and Brussels, Belgium. Photography attracted me at an early age. When I was a child, I made my first photographic steps with the camera of my parents. Later, photography became more than just a pastime as it helps me to release all of my creativity, from which I also benefit in my main job. Architectural photography finally became my passion as I found out for myself that in this field you can create little works of art that people can remember. I still find it incredibly exciting to explore that one point of view from which shapes, lines and structures join together to create something truly extraordinary. Statement: Just go out and capture the unexpected!
Amir Appel
Amir Appel
Israel
1965
My name is Amir Appel, living in Israel and doing street photography as a hobby for the last 10 years. An electronic engineer as a profession. Running in the streets, I try to find the contrasts that exists in Israel between the different communities, and if I get a smile out of it, it’s even better. Always have to have at least one person captured (a single person is boring…) and I am trying to capture it in some action. Mostly shooting with flash to add more details to the image.
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