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Yael Martínez
Yael Martínez

Yael Martínez

Country: Mexico
Birth: 1984

Yael Martínez (born 1984) is a Mexican Photographer which became a Magnum Photos Nominee member in 2020. Martínez is based in Guerrero, Mexico.

Martínez's work has explored the connections between, poverty, narcotrafic, organized crime, and how this affects on the communities in his native Guerrero in southern Mexico.

He is trying to represent the relationship of absence and presence and this state of invisibility in a symbolic manner working with the concepts of pain, emptiness, absence, and forgetting.

Yael Martínez received the Magnum Emergency Fund, Magnum On religión, and was named one of the PDN´s 30 new and emerging photographers to watch in 2017. In 2015 he was selected in the Joop Joop Swart Master Class Latinoamerica and was finalist in the Eugene Smith grant in 2015, 2016.

He was nominated to the Foam Paul Huf Award, the Prix Pictet and the Infinity award of the International Center of Photography.

Source: www.yaelmartinez.com


Martínez’s work addresses fractured communities in his native Mexico. He often works symbolically to evoke a sense of emptiness, absence, and pain suffered by those affected by organized crime in the region.

He is the recipient of the Eugene Smith Award 2019, was fellow of the Photography and Social Justice Program of The Magnum Foundation. He won the 2nd Prize of the World Press Photo contests 2019 in the category of long-term projects. Martínez was grantee of the Magnum Foundation in the grants: Emergency Fund and On Religion in 2016- 2017.

His work has been featured in group shows in America, Europe, Africa and Asia.

His work has been published by: The Wall Street Journal, Blomberg news, Lens NY times, Time, Vogue Italy, Vrij Nederland, Aperture.

Source: Magnum Photos


Agency

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Websites

www.yaelmartinez.com

@yaelmtzv

 

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More Great Photographers To Discover

Jeff Brouws
Jeff Brouws
United States
1955
Jeff Brouws, born in San Francisco in 1955, is a self-taught artist. Pursuing photography since age 13, where he roamed the railroad and industrial corridors of the South Bay Peninsula, Brouws has compiled a visual survey of America's evolving rural, urban and suburban cultural landscapes. Using single photographs as subtle narratives and compiling typologies to index the nation's character, he revels in the "readymades" found in many of these environments. Influenced by the New Topographic Movement, the artist books of Ed Ruscha (to whom Brouws paid homage with his Twentysix Abandoned Gasoline Stations project in 1992) as well as the writings of cultural geographers like J.B. Jackson, Dolores Hayden, John Stilgoe, Mike Davis and Leo Marx, Brouws has combined anthropological inquiry with a somber aesthetic vision mining the overlooked, the obsolete, and the mundane. Initially engaged with what Walker Evans termed the "historical contemporary" along America's secondary highways beginning in the late 1980s, over the following twenty years Brouws has extended this inquiry into the everyday places occupied by most Americans – the franchised landscapes of strip malls, homogenized housing tracts and fast food chains. Since moving to the Northeast in the late 1990s, Brouws has also investigated inner city areas, abandoned manufacturing sites, and other commercial ruins found in Buffalo, Detroit, Cleveland and Youngstown. His photographs of these discarded spaces—the byproducts of de-industrialization, white flight, disinvestment, and failed urban policy—suggest an underlying disparity throughout a country that purports economic equality and social justice for all. Alongside his photographic practice, for the past thirty years Brouws has researched and written about the historic and aesthetic development of railroad photography in America, authoring and editing numerous books on the subject including The Call of Trains: Railroad Photographs by Jim Shaughnessy, A Passion for Trains: The Railroad Photography of Richard Steinheimer, and his most recent publication (edited with Wendy Burton) Some Vernacular Railroad Photographs. In 2013 Brouws (along with co-editors Wendy Burton and Hermann Zschiegner and authors Phil Taylor and Mark Rawlinson) published Various Small Books: Referencing the Various Small Books by Ed Ruscha (MIT Press). This was a multi-year, collaborative project involving ninety artists from around the world. Honoring Ruscha’s seminal books from the 1960s and 70s like Twentysix Gasoline Stations, VSB went on to become the defacto catalog for the Ed Ruscha: Books & Co exhibition staged at the Gagosian Gallery, New York and the Museum Brandhorst in Munich. Brouws’s photography is represented by The Robert Mann Gallery, The Robert Koch Gallery, The Robert Klein Gallery, and The Craig Krull Gallery. His work is in numerous private and public collections including the Whitney Museum of American Art, Princeton University Art Museum and San Francisco Museum of Modern Art.
Stanley Greene
Stanley Greene
United States
1949 | † 2017
During the early years of his career, Stanley Greene (USA, 1949-2017) produced The Western Front, a unique documentation of the San Francisco’s punk scene in the 1970s and 80s. An encounter with W. Eugene Smith turned his energies to photojournalism. Stanley began photographing for magazines, and worked as temporary staff photographer for the New York Newsday. In 1986, he moved to Paris and began covering events across the globe. By chance, he was on hand to record the fall of the Berlin Wall. The changing political winds in Eastern Europe and Russia brought Greene to a different kind of photojournalism. He soon found himself photographing the myriad aspects of the decline of communism and the break-up of the Soviet Union. Stanley was a member of the Paris-based photo agency Agence VU from 1991 to 2007. Beginning in 1993, he was based in Moscow working for Liberation, Paris Match, Time, The New York Times Magazine, Newsweek, Le Nouvel Observateur, as well as other international news magazines. In October 1993, Stanley was trapped and almost killed in the White House in Moscow during a coup attempt against Boris Yeltsin. He was the only western journalist inside to cover it. Two of his resulting pictures won World Press Photo awards. In the early 1990s, Stanley went to Southern Sudan to document the war and famine there for Globe Hebdo (France). He traveled to Bhopal, India, again for Globe Hebdo, to report on the aftermath of the Union Carbide gas poisoning. From 1994 to 2001, Stanley covered the conflict in Chechnya between rebels and Russian armed forces. His in-depth coverage was published in the monograph Open Wound: Chechnya 1994-2003 (Trolley 2003) and in the 1995 publication Dans Les Montagnes Où Vivent Les Aigles (Actes Sud). The work also appeared in Anna Politkovskaya’s book, A Dirty War: A Russian Reporter in Chechnya (2001). In 1994, Stanley was invited by Médecins sans Frontières to document their emergency relief operations during the cholera epidemic in Rwanda and Zaire. He has covered conflict and aftermath in Nagorno-Karabakh, Iraq, Sudan, Darfur, Afghanistan, Kashmir, and Lebanon. Stanley was awarded a Katrina Media Fellowship from the Open Society Institute in 2006. In 2010, to mark the fifth commemoration of Hurricane Katrina - together with Dutch photographer Kadir van Lohuizen - Stanley made “Those who fell through the cracks”, a collaborative project documenting Katrina's effects on Gulf coast residents. The same year, Stanley’s book Black Passport was published (Schilt). In 2012, Stanley was the guest of honor of Tbilisi Photo Festival and began his project on e-waste traveling to Nigeria, India, China and Pakistan. Stanley has received numerous grants and recognitions including - the Lifetime Achievement Visa d’Or Award (2016), the Aftermath Project Grant (2013), the Prix International Planète Albert Kahn (2011), W. Eugene Smith Award (2004), the Alicia Patterson Fellowship (1998) and five World Press Photo awards. Stanley presented the Sem Presser keynote lecture at the 2017 World Press Photo Award Festival. Stanley Greene is a founding member of NOOR. Stanley passed away in Paris, France on May 19th, 2017. Source: NOOR Greene was born to middle class parents in Brooklyn. Both his parents were actors. His father, who was born in Harlem, was a union organizer, one of the first African Americans elected as an officer in the Screen Actors Guild, and belonged to the Harlem Renaissance movement. Greene's father was blacklisted as a Communist in the 1950s and forced to take uncredited parts in movies. Greene's parents gave him his first camera when he was eleven years old. Greene began his art career as a painter, but started taking photos as a means of cataloging material for his paintings. In 1971, when Greene was a member of the anti-war movement and the Black Panthers, his friend, photographer W. Eugene Smith offered him space in his studio and encouraged him to study photography at the School of Visual Arts in New York and the San Francisco Art Institute. Greene held various jobs as a photographer, including taking pictures of rock bands and working at Newsday. In 1986, he shot fashion in Paris. He called himself a "dilettante, sitting in cafes, taking pictures of girls and doing heroin". After a friend died of AIDS, Greene kicked his drug habit and began to seriously pursue a photography career. He began photojournalism in 1989, when his image ("Kisses to All, Berlin Wall") of a tutu-clad girl with a champagne bottle became a symbol of the fall of the Berlin Wall. While working for the Paris-based photo agency Agence Vu in October 1993, Greene was trapped and almost killed in the White House in Moscow during a coup attempt against President Boris Yeltsin. He has covered the war-torn countries Azerbaijan, Georgia, Iraq, Somalia, Croatia, Kashmir, and Lebanon. He has taken pictures of the genocide in Rwanda in 1994 and the US Gulf Coast in the aftermath of Hurricane Katrina in 2005. Since 1994, Greene is best known for his documentation of the conflict in Chechnya, between rebels and the Russian armed forces, which was compiled in his 2004 book, Open Wound. These photos have drawn attention to the "suffering that has marked the latest surge in Chechnya's centuries-long struggle for independence from Russia". In 2008, Greene revealed that he had hepatitis C, which he believed he had contracted from a contaminated razor while working in Chad in 2007. After controlling the disease with medication, he traveled to Afghanistan and shot a story about "the crisis of drug abuse and infectious disease". Greene has lived and worked in Paris since 1986. He said: "My wife has left me but instead of becoming an alcoholic, I would go and shoot war." Source: Wikipedia Wars and Victims February 18, 2008 "It remains essential for journalists to scour the ground, unimpeded, using the only weapons we know. Our cameras, notebooks and voices make us the unwelcome pests of aggressors around the world. Witnesses are inconvenient. Yet as most of my colleagues will agree, countries such as Irak, Chad, The Caucasus, and Chechnya, are becoming harder to cover. In the world of spot news, publications don't want to pay for long engagements in complicated zones because its getting much harder to afford it. Authorities block access. And the lack of access, infrastructure and personal security makes logistics a nightmare. Despite the odds, sometimes the effort can make a difference, and those rare moments never cease to satisfy in a profession that is otherwise lonely, demanding and thankless. Journalism rewards you with long days and even longer nights. There is no such thing as taking pictures from a place of safety, and you often pack your feelings in a suitcase until you can return to ‘reality.’ Some colleagues living in this perpetual emotional yo-yo are able to maintain a relationship, money in the bank, and perhaps even their sanity. If you're like the rest of us not born under that star, you never stop trying to find it. For the last fifteen years I have bore witness to long histories of invasions, mass migrations, conflicts, wars and destructions. This group of images is to provide a body of work that is about war and victims but also, it's about photojournalism and the importance of those photo-correspondents that are passionate about shining the light in dark places. The resultant series of black and white and color photographs are more than a mere documentation of the darkness which exists in the world. Journalists today are like disaster tourists going from one hot place to the next. It has never been my intention to be such a photographer. I think it is better to build a full body of work which demonstrates the longevity of a working photojournalist, today and yesterday. I think that this should be taken into consideration when looking at this work. It is a fragment, taken from longer and larger photo-essays." -- Stanley Greene (Sometimes We Need Tragedies) Source: fragments.nl
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Brice Gelot
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Wayne Swanson
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Wayne Swanson is a fine art photographer living in San Diego. Born and raised in Chicago, he still clings to his Midwestern sensibility. He is a graduate of the Medill School of Journalism at Northwestern University. His career has included writing and photography for newspapers, magazines, book publishers, and corporate clients. He is a member of the Snow Creek Collaborative, a critique group of award-winning Southern California fine art photographers. His fine art photography has been included in juried exhibitions in Los Angeles, San Diego, New York, Boston, Houston, Fort Collins, and more. He has been featured in publications including Shots Magazine, The Hand Magazine, Lenscratch, Rfotofolio, Aint-Bad, and Float. As a writer, he is a contributing editor for PhotoBook Journal. Statement "We take for granted so much of what we see around us. I like to look at the familiar with fresh eyes, searching for the wonder in the ordinary. Then I find a means of presentation that suits my subject. That could mean single images, composites, grids, or 3-dimensional objects. The output could be digital prints, Polaroids, or image transfers. My interests range from shapes and forms, architecture, and landscapes to the highly personal. I’m drawn to imagery related to time, memory, atmosphere, a sense of place, and a subtle sense of humor." -- Wayne Swanson
Andrea Kunstle
Andrea Kunstle
Germany
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"I was trained 3 years to become a photographer and afterwards I studied to become a "photo engineer". With all the knowledge of technology, I thought it would be easy to work as a photographer. But of course was not. Today I do live mainly in Berlin, work as a city guide or in a bicycle store, give workshops and in the spare time I work on my Art." Statement: Life is always full of surprises and in order not to miss them I worked on giving free rein to my creativity. I know how difficult is to keep going with your creativity, so I dicided to travel with my bicycle. Always 4 months during the winter times or even some longer trips. Getting out of my comfort zone gets me at least closer to what we call "Reality". But also just a little closer. The greatest challenge, but also the greatest satisfaction, is working with people. Meeting them, seeing them and then showing them in my pictures is what really drives me." www.kuenstle.de www.streetpepper.de www.jokeair.com @kuenstlephotography
Stephanus Meyer
Stephanus Meyer
Zambia/United Kingdom
Stephanus Meyer was born in Zambia and spent most of his childhood in South Africa. He moved out of Africa at the beginning of the 1980s to live in Spain where he is now based. He is self-taught and always inspired by his obsession with light, shadows, contrasts and the way they come together in his images. Street, social, documentary and fine art photography are his great passion. He has lived in various environments and travelled to many different places, and his camera has taught him to see the world and how people live in it from a different perspective. Street photography has taught him to see. He is inspired by people who simply live their lives. He bought his first camera at the age of 16 and so the journey began; more than 40 years later it is still going strong. He has participated in numerous photographic events such as the official section of the international Biennial of Photography of Cordoba 2006 and the International Biennial of Photography and Audiovisual Arts of Granada, among others, and has been a finalist in several international competitions such as the Photography Masters Cup (USA), Chelsea International Photography Competition (New York), Fresh M.I.L.K. (New Zealand) and Festimage (Portugal), in addition to a large number of mentions and national awards. Statement Street photography is often seen as a simple capture of the everyday moments that unfold in the bustling streets of our cities. Yet, within each frame lies a profound narrative of our times, a visual testament to the lives we lead, the cultures we inhabit, and the stories we weave amidst the urban tapestry. In my pursuit of documenting the streets, I find myself drawn not just to the fleeting moments of beauty and serendipity, but also to the deeper layers of societal fabric that unfold before my lens. Each photograph serves as a time capsule, preserving not just the faces and places, but the essence of an era; a social document for future generations to decode and understand. Just as a historian might study the archives for insights into the past, I see my street photography as a form of contemporary historiography. Through the lens of my camera, I strive to capture not just the surface appearances, but the underlying currents of human existence – the way people dress, interact, and navigate the urban landscape. In this fast-paced world of ever-evolving trends and technologies, street photography offers a grounding force, reminding us of our shared humanity and collective journey. It is my hope that these snapshots of life on the streets will serve as a bridge across time, connecting us to the past, grounding us in the present, and inspiring us to shape a more compassionate and inclusive future. Series: Crossing the old city from within Córdoba, a city that was once a melting pot of religions and civilizations lies in the north-central section of the autonomous community of Andalusia in southern Spain. Córdoba was probably Carthaginian in origin and was occupied by the Romans in 152 BC. In 711 it was captured and largely destroyed by the Muslims. Abd al-Rahman I, a member of the Umayyad family, accepted the leadership of the Spanish Muslims rebuilt it and made Córdoba its capital in 756. The old city has one of the largest Jewish quarters in Europe with its narrow cobble- stone streets and white houses. It leads out towards the Great Cathedral-Mosque and crosses the Guadalquivir river through the Roman arch and bridge. I have been living here for almost 30 years, and have walked and crossed the old city with my camera many times. This series begins within the Great Cathedral-Mosque and takes us across the old city. As a passionate street photographer I try to capture the beauty and diversity of modern urban life in this ancient area. My style is unconventional and experimental, as I use a wide angle lens to create images that are distorted, dynamic, and dramatic. I simply walk and shoot and never engage with my subjects. I want the photos to be as natural as possible. In this series, in post-production, I used various filters to obtain that yellowish colour that for me creates the ancient mood the old city reminds me of when I walk its streets. I want the observer to feel the textures of the old stone, the mood, the pulse of daily life and the incredible light.
Jennifer Bazzoli
Jennifer Bazzoli
Italy
2001
Jennifer Bazzoli is an Italian photographer focusing on travel and documentary photography. Her passion began in 2018 with her first camera, when she started experimenting with different styles and techniques. With a background in photography and cinematography, she is now dedicated to capturing distant lands, their landscapes and their people. Statement "What I aim for, with my work and my dedication, is to leave a positive impact while sharing authentic stories from different places and cultures." Awarded Photographer of the Week - Week 45, 2025
Jacob Riis
Jacob Riis
Denmark/United States
1849 | † 1914
Jacob August Riis was a Danish-American social reformer, "muckraking" journalist, and social documentary photographer. He contributed significantly to the cause of urban reform in America at the turn of the twentieth century. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. He endorsed the implementation of "model tenements" in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered one of the fathers of photography due to his very early adoption of flash. While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people by exposing their living conditions to the middle and upper classes. Riis had for some time been wondering how to show the squalor of which he wrote more vividly than his words could express. He tried sketching but was incompetent at this. Camera lenses of the 1880s were slow as was the emulsion of photographic plates; photography thus did not seem to be of any use for reporting about conditions of life in dark interiors. In early 1887, however, Riis was startled to read that "a way had been discovered to take pictures by flashlight. The darkest corner might be photographed that way." The German innovation, by Adolf Miethe and Johannes Gaedicke, flash powder was a mixture of magnesium with potassium chlorate and some antimony sulfide for added stability; the powder was used in a pistol-like device that fired cartridges. This was the introduction of flash photography. Recognizing the potential of the flash, Riis informed a friend, Dr. John Nagle, chief of the Bureau of Vital Statistics in the City Health Department who was also a keen amateur photographer. Nagle found two more photographer friends, Henry Piffard and Richard Hoe Lawrence, and the four of them began to photograph the slums. Their first report was published in the New York newspaper The Sun on February 12, 1888; it was an unsigned article by Riis which described its author as "an energetic gentleman, who combines in his person, though not in practice, the two dignities of deacon in a Long Island church and a police reporter in New York." The "pictures of Gotham's crime and misery by night and day" are described as "a foundation for a lecture called 'The Other Half: How It Lives and Dies in New York.' to give at church and Sunday school exhibitions, and the like." The article was illustrated by twelve-line drawings based on the photographs. Riis and his photographers were among the first Americans to use flash photography. Pistol lamps were dangerous and looked threatening, and would soon be replaced by another method for which Riis lit magnesium powder on a frying pan. The process involved removing the lens cap, igniting the flash powder, and replacing the lens cap; the time taken to ignite the flash powder sometimes allowed a visible image blurring created by the flash. Riis's first team soon tired of the late hours, and Riis had to find other help. Both his assistants were lazy and one was dishonest, selling plates for which Riis had paid. Riis sued him in court successfully. Nagle suggested that Riis should become self-sufficient, so in January 1888 Riis paid $25 for a 4×5 box camera, plate holders, a tripod and equipment for developing and printing. He took the equipment to the potter's field cemetery on Hart Island to practice, making two exposures. The result was seriously overexposed but successful. For three years, Riis combined his own photographs with others commissioned of professionals, donations by amateurs and purchased lantern slides, all of which formed the basis for his photographic archive. Because of the nighttime work, he was able to photograph the worst elements of the New York slums, the dark streets, tenement apartments, and "stale-beer" dives, and documented the hardships faced by the poor and criminal, especially in the vicinity of notorious Mulberry Street. A particularly important effort by Riis was his exposure of the condition of New York's water supply. His five-column story "Some Things We Drink", in the August 21, 1891, edition of the New York Evening Sun, included six photographs (later lost). Riis wrote: "I took my camera and went up in the watershed photographing my evidence wherever I found it. Populous towns sewered directly into our drinking water. I went to the doctors and asked how many days a vigorous cholera bacillus may live and multiply in running water. About seven, said they. My case was made." The story resulted in the purchase by New York City of areas around the New Croton Reservoir, and may well have saved New Yorkers from an epidemic of cholera. Riis tried hard to have the slums around Five Points demolished and replaced with a park. His writings resulted in the Drexel Committee's investigation of unsafe tenements; this resulted in the Small Park Act of 1887. Riis was not invited to the eventual opening of the park on June 15, 1897, but went all the same, together with Lincoln Steffens. In the last speech, the street cleaning commissioner credited Riis for the park and led the public in giving him three cheers of "Hooray, Jacob Riis!" Other parks also were created, and Riis was popularly credited with them as well.Source: Wikipedia
Delaney McQuown
Delaney McQuown
United States
1999
Delaney McQuown is a fine artist and commercial photographer based in Cincinnati, Ohio. She received her B.F.A with a focus in photography from the University of Cincinnati's School of Design, Architecture, Art and Planning [DAAP]. McQuown uses photography to explore the female experience and investigate the camera's impact on self-perception. She was a recipient of the Claire Aho Award for Women Photographers and a winner of the World Food Photography Finalist Awards in 2024. Her work has been featured in the London Mall Galleries, Production Paradise Showcase and in the United States Capitol building in Washington D.C.. McQuown is currently working on a long-term photo project titled Swimsuit Season, which invites women-identifying individuals to be photographed in their favorite swimsuits, surrounded by what brings them joy. Often viewed as the most body-revealing garment, the swimsuit becomes a symbol of vulnerability, self-acceptance, and quiet defiance. There’s no pressure for the subject to pose, perform, or prepare. It simply an open invitation to show up 'as you are'. In the spirit of solidarity and shared vulnerability, McQuown wears her swimsuit too, turning each session into a celebration of presence, self-expression, and the courage to take up space unapologetically.
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