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Final Deadline Extended to Friday — Win a Solo Exhibition in February
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Lukas Holas
Lukas Holas
Lukas Holas

Lukas Holas

Country: Czech Republic

I am a small-town photographer and a graphic designer from the Czech Republic. I have occasionally been taking photos of everything that comes along - people, animals, macro and landscape ... for about 6 years. My dream is taking pictures of wild and exotic animals in their natural environment. So far, however, workload, a tight family budget and most of all being an active father of three children do not allow me to fulfill it.

I can only combine business with pleasure and therefore we often go with the whole family to zoos in our small country at least. And so it happens that instead of tracking wildlife I often seek and “tame” our wild offspring. Nevertheless, it sometimes comes about that Dad gets away for a few minutes and gets stuck in a willingly posing animal.

It may not seem so but shooting in a zoo might turn into a totally exciting matter. "Will the picture be good despite a smudged glass, strong steel bars, frequent apathy of animals or omnipresent crowds of tourists?" Sometimes it works out well!

I'm trying to take pictures of the animals against a naturally dark background, but the contrasting final form is given by the adjustments in Photoshop. The experience and the daily practice at my work (a graphic designer) come in handy.

My images have no specific message, but I believe that they leave some space for personal imagination and foreshadow a deeper story of animals portrayed. I also suppose that the black colour simply suits the animals and presents them in a more dignified environment than the stark walls of the enclosures do.

I was also pleased with the opportunity to cooperate with the Union of Czech and Slovakian Zoos (for which I have been designing the annual reports using my black&white photos for several years), or with some specific gardens in the Czech Republic. I hope that such cooperation will continue in future and that the animals in my images will delight and inspire people in other countries than the Czech Republic.

Websites

www.behance.net

www.fineartamerica.com

 

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Barry Salzman is an award-winning contemporary artist who currently works in photography, video and mixed media and whose projects have been shown widely around the world. He lives and works between New York City and Cape Town, South Africa. His photographic work in particular, began with a fascination for the practice as a teenager, during a time when it served as a way for him to grapple with the racial segregation in apartheid South Africa. Today, his work continues to explore challenging themes around social, political and economic narratives, often coming down to the core concept of identity. Acutely relevant and brave in its willingness to confront, Salzman's photography garnered the 2018 International Photographer of the Year Award in the Deeper Perspective category at the International Photography Awards for his project, The Day I Became Another Genocide Victim, which endeavors to humaize victims of the Rwandan genocide. For the last six years, Salzman has worked on ongoing projects that attempt to challenge the universal fatigue around the genocide narrative. Mostly, he applies visual tools of abstraction to landscape images shot at precise locations around the world where acts of genocide were perpetrated as a means of reminding us that 'that place' can be 'any place'. In writing about his ongoing genocide landscape work Salzman says, "The landscape witnesses all. It sheds its leaves in cover-up and complicity. But through its rebirth, so it rejuvenates. It carries with it the traces of the past and promises of the future. It triumphs over trauma. It is inextricably intertwined with our darkest moments and brightest days." The following images were made in Ukraine, Poland and Rwanda at precise locations where acts of genocide were perpetrated. For additional information, please see: www.barrysalzman.net
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After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
Costanza Rossi
Costanza Rossi
Italy
1989
Costanza Rossi is an Italian-born documentary and travel photographer whose work explores remote and indigenous communities around the world. Dividing her time between Italy, the UK, and extended travels, she has developed a practice rooted in cultural storytelling and human connection. Her photographs are the result of immersive fieldwork in some of the most isolated places on earth, from the nomadic herders of northern Mongolia to the tribes of the Omo Valley in Ethiopia, the Amazon rainforest, or the Darién Gap. Costanza’s work has appeared in both solo and collective exhibitions, with venues such as the History Museum of Salento and the Paris Imagination Gallery. She is the co-author of I mondi nascosti dei popoli Surma (Pensa Editore, 2025) and the editor and curator of the forthcoming Anthropology & Photography Quarterly published by the History Museum of Salento. Her practice combines her professional background in communication and branding with a passion for documenting humanity in its many forms, always seeking to highlight resilience, dignity, and alternative ways of living. Artist Statement My photography is driven by a curiosity for different worlds and the many ways humanity can be expressed. I seek out communities that exist at the edges of globalization, where traditions, rituals, and identities have been preserved against the current of modernity. I am an avid traveler, fueled by the excitement and wonder that arise when I encounter cultures so different from my own. This sense of discovery and the adrenaline of confronting unfamiliar realities inspire me to keep searching, documenting both diverse traditions and pressing social issues. I approach people’s lives with empathy, building stories that honor their uniqueness. I am drawn to subjects that challenge conventional narratives, and what unites my projects is a search for visual storytelling that sparks both recognition and wonder: images that remind us of our shared humanity, while revealing the beauty of cultural difference. Awarded Photographer of the Week - Week 36, 2025
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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