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Svet Jacqueline
Svet Jacqueline
Svet Jacqueline

Svet Jacqueline

Country: United States
Birth: 1992

Svet Jacqueline grew up In Baltimore, Maryland. She earned a Bachelor of Science in Photography from the S.I. Newhouse School of Public Communications at Syracuse University in 2014. She moved to Los Angeles, California in 2016 to work on freelance projects with Sony Entertainment, Apple, and other editorial clients. In 2020, she documented the uprising of the Black Lives Matter movement and published her first book, 100 days of Protest, 2021. Last year, she split her time in Los Angeles, Mexico, and Texas documenting migration at the border and the cycle of poverty on Skid Row where her work won first place in the International Photography Awards and NPPA Best of Photojournalism 2022. Her recent efforts focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. She has published with Göteborgs-Posten, Teen Vogue, The Jewish Times, and HBO. focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. In her free time, she trains for marathons, cooks, and volunteers with local nonprofits to feed underfunded communities and support public art programs.

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ZUMA Press

Websites

www.svetjacqueline.com

@___svetj

 

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More Great Photographers To Discover

Angela Bacon-Kidwell
Angela Bacon-Kidwell
United States
Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NYHome by Nightfall (2012-2014)Silence ceased for him in 2011 not a whisper, but a relentless roaring thunder molding his spirit into mourning In his misery, a new vaporous malice was brewing the ringing was a warning tinnitus and cancer were converging Every known eradication was pursued He and I, separated by many miles, shared a need for solitude cultivated by lucid country drives We drove separately through the dark districts of our minds invariably contemplating what was to come, a symbiotic transitory landscape emerged and the thunder soared in 2013 Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers Questions, Answers, Questions, Answers all tedious throbbing answers How many miles in a life? What shape is the color grey? When does an echo become whole? During the three years of relentless discord, I created images of these ambiguous queries emoting, sensing, seeking There is a truth in "big" questions with small answers Clarity in the midst of chaos Hope in the face of despair Silence returned for him on May 24, 2014 He was my father.
Evgenia Arbugaeva
Evgenia Arbugaeva
Russia
1985
Evgenia Arbugaeva (born 1985) is a photographer of the Russian Arctic. Having grown up in Yakutsk, she has an empathy with the people living in the far north and the difficult living conditions they experience, and several of her photographic projects have involved them. The National Geographic has funded her to photograph the people and economic changes on Russia's northern coast. Arbugaeva was born in Tiksi, a small port town of the Sakha Republic on the Arctic Sea, near the mouth of the Lena River. As part of the Soviet Union, Tiksi supported military airfields and became the world's most northern settlement with over 5000 people. Her memories of the place include pink mountains, whiteout snowstorms in which she lost all sense of place, fields of snow colored green or gold by the surrounding light, and auroras in the endless night of winter. One of her childhood heroes was explorer Jacques Cousteau. At the age of eight, and at the fall of the Soviet Union, she and her family moved to Yakutsk, "the coldest city on earth" and a place that she found much less visually appealing. She studied management in Moscow before moving to New York City. There, she studied photography at the International Center of Photography, graduating in 2009. 19 years after moving from her hometown, Arbugaeva decided to move back to Tiksi because she could no longer remember anything from the town. These memories had faded so much to the point where they seemed unreal. Arbugaeva's photographic method involves living with her subjects on a long enough term to become friends with them and for them to relax in front of her camera. For instance, in one of her projects she traveled with Siberian hunters for the tusks of mammoths, newly exposed by global warming. She won the trust of the hunters by stitching up the injured hand of the head of the group. She often works without a camera, scouting locations that she returns to frequently until the lighting and inspiration combine to give her a photo. In 2010 Arbugaeva returned to Tiksi, now becoming a ghost town, on a personal visit to compare it to her memories, but left the town with only one photo she liked, of a teenage girl playing on the seashore. Inspired by the photo, she traveled back to Tiksi in 2011 to meet the girl and her family and to document their daily life, overlain with her own memories. Despite the decline of the town and the difficult life there (which drove her host family to plan their own departure), her photos in this project are "bright and whimsical, their compositions and vivid colours redolent of the books she read there as a child". Arbugaeva learned of the weather stations of northern Russia in a dog sledding incident, when she and her father had to take shelter from bad weather at one of the stations. In her project Weather Man, she took a two-month passage on an icebreaker to 22 of the stations, including the station at Khodovarikha, where she met meteorologist Vyacheslav (Slava) Korotki. The portrait taken of Vyacheslav Korotki is an intimate story of an individualistic man, who is facing the fading winter of the Arctic. In early 2014, she returned to Khodovarikha by helicopter for a two-and-a-half-week visit and photography session with Korotki. Based on this work, a much darker series of photos than the ones from Tiksi, she published a profile of Korotki in The New Yorker. Arbugaeva's other photography projects have included nomadic Yakut reindeer herders in Sakha, and Amani, a sequence of fictionalized images set on an abandoned anthropological research station on a former German coffee plantation in Tanzania. Arbugaeva is the 2013 winner of Leica's Oskar Barnack Award for her work in Tiksi, for which she also received a Magnum Foundation International Emergency Fund grant in 2012. In 2018, National Geographic named her as one of their four inaugural Media Innovation Fellows, funding her to photograph the people and economic changes on Russia's northern coast.Source: Wikipedia
Laura Tomé
Laura Tomé
Spain
1983
Laura Tomé is a photographer from Barcelona whose passion for photography began in childhood. Her work focuses on documenting abandoned and uninhabited places—spaces rich in history that may one day be transformed and given a new purpose. Through her lens, she explores the relationship between memory, absence, and transformation, capturing details that often go unnoticed while preserving the unique atmosphere of each location. Rather than simply photographing spaces, she seeks to reveal the invisible stories they hold and invite viewers to reflect on the passage of time and the possibilities these places may offer in the future. Statement My work explores the relationship between memory and transformation through the photography of abandoned and uninhabited places. I am drawn to spaces that have been left behind, where traces of past lives remain visible despite the passage of time. These locations exist in a state of transition: they preserve memories of what once was while holding the potential to become something entirely new. Through my photographs, I seek to document this fragile balance between absence and possibility, capturing not only the physical space but also the stories, emotions, and histories embedded within it. By focusing on overlooked details and forgotten environments, I invite viewers to reflect on how places evolve, how memories endure, and how transformation can give new meaning to what might otherwise be lost. All About Photo Competitions Photographer of the Week 24, 2026
Natalie Christensen
Natalie Christensen
United States
1966
Photographer Natalie Christensen has an inimitable, and enchanting, focus on the exploration of the more banal peripheral landscapes that often go unnoticed by the casual observer. "I quickly became aware that these isolated moments in the suburban landscape were rich with metaphor. Closed and open doors, empty parking lots and forgotten swimming pools draw me to a scene; yet it was my reactions to these objects and spaces that elicited interpretation and projection." Based in Santa Fe, New Mexico, United States, she has exhibited her photographs in the U.S. and internationally, including Santa Fe, New York, Brooklyn, Los Angeles, London, Berlin and Barcelona. She was recently honored as an invited guest of the Embassy of the United Arab Emirates in Washington, D.C. and joined a select delegation of architects, architectural photographers and curators for a one-week cultural tour of the UAE. Christensen had worked as a psychotherapist for over 25 years and was particularly influenced by the theories of depth psychologist Carl Jung. This influence is evident in her photographs, as shadows and psychological metaphors are favored subjects. The symbols and spaces in my images are an invitation to explore a rich world that is concealed from consciousness, and an enticement to contemplate narratives that have no remarkable life yet tap into something deeply familiar to our experience; often disturbing, sometimes amusing...unquestionably present. In Santa Fe, her work is inspired by commonplace architecture and streetscapes. She realizes that the places she frequents for her images are probably not what people visualize when they think of Santa Fe, a major tourist destination with a carefully cultivated image. "I don't have to go anywhere special to make my photography; instead I find my images around shopping centers, apartment complexes and office parks." Choosing to shoot in locations that may be viewed as uninteresting or even visually off-putting, Christensen finds this challenging, to "see" something hidden in plain sight, noting "it is our nature to ignore what is unpleasant, but sometimes I get a glimpse of the sublime in these ordinary places. When I find it, it feels like I have discovered gold." Christensen is repeatedly drawn to the swimming pool as a metaphor for the unconscious. In American culture, pools symbolize the luxury of leisure. Yet she also sees a darker interpretation - evoking repressed desires, unexplained tension and looming disaster. "These photographs of a manufactured oasis suggest a binary connection between the world above and the world below, linking submersion in water with the workings of the subconscious." She dismantles all of these scenes to color fields, geometry and shadow. She shoots every day and is almost never without a camera. The Royal Photographic Society recently presented her artwork in a traveling museum exhibition throughout the United Kingdom, and had her as a guest lecturer. She led a photography workshop there, as well at Meow Wolf in Santa Fe. Christensen has participated in collaborative site-specific projects at Iconic Standard Vision Billboard, Los Angeles; El Rey Court, Santa Fe; University of New Mexico, Albuquerque; and Peckham Levels, London. She has been named one of "Ten Photographers to Watch" by the Los Angeles Center of Digital Art. As one of five invited photographers for "The National 2018: Best of Contemporary Photography" at the Fort Wayne Museum of Art, Indiana, her work was purchased for the permanent collection. Christensen was also the Purchase Prize recipient of the 33rd Annual International Exhibition at the University of Texas at Tyler. Christensen's photographs are in private and corporate collections. Her work has received awards, including top finalist of 48,000 entries for the Smithsonian's 15th Annual Photo Contest and Honorable Mentions for the Julia Margaret Cameron Award and the Chromatic Awards. Global media have taken notice, with features in, among others, Xi Draconis Books; LandEscape Art Review, United Kingdom; Better Photography Magazine, India; Art Reveal Magazine; Magazine 43, Philippines, Germany and Hong Kong; Site Unseen; Lens Culture; All About Photo and Women in Photography. Statement I live in Santa Fe New Mexico where my work is inspired by commonplace architecture and streetscapes. I shoot every day and am almost never without my camera. I don't have to go anywhere special to make my photography; instead I find my images around shopping centers, apartment complexes and office parks. I dismantle these scenes to color fields, geometry and shadow. The places I frequent for my images are probably not what people visualize when they think of the city I live in, a major tourist destination with a carefully cultivated image. I choose to shoot in locations that may be viewed as uninteresting or even visually off-putting. This is exciting and challenging for me, to "see" something hiding in plain sight. Much of my professional life has been spent as a psychotherapist, and my photography as an extension of that work. Both have called me to explore what is hidden from view, those aspects of the self or the environment that we want to turn away from or simply avoid. I suspect it is our nature to ignore what is unpleasant, but sometimes I get a glimpse of the sublime in these ordinary places. When I find it, it feels like I have discovered gold.
Lauren Semivan
Lauren Semivan
United States
1981
Lauren Semivan (b. 1981) was born in Detroit, Michigan. She received a BA in studio art from Lawrence University in Appleton, Wisconsin, and an MFA in photography from Cranbrook Academy of Art. Her work has been exhibited at the Nelson Atkins Museum of Art, Detroit Center for Contemporary Photography, The Griffin Museum of Photography, The Hunterdon Art Museum, Cranbrook Art Museum, Paris Photo, and The AIPAD Photography Show among others. She has taught photography at College for Creative Studies, The Ohio State University, Virginia Commonwealth University, and Wayne State University. Semivan has received numerous awards for her work including Photolucida Critical Mass Top 50, and The Griffin Museum of Photography’s Griffin Award. In 2014, she was a finalist for The John Gutmann Photography Fellowship, and SF Camerawork’s Baum Award for Emerging Photographers. Her work was recently published in Series of Dreams (Skeleton Key Press, 2018) and has appeared in The New Yorker, Artforum, Harper's Magazine, Interview Magazine, The Village Voice, and Photograph magazine. Semivan’s work is part of permanent collections at the Nelson Atkins Museum of Art, Cranbrook Art Museum, The Wriston Art Galleries at Lawrence University, and The Elton John Photography Collection. She lives in Appleton, WI and is represented by Benrubi Gallery in New York, and David Klein Gallery in Detroit, Michigan. Artist Statement "The staged photograph exists as a document of a pre-conceived, imagined event. It can be compared to a scientific apparatus, utilizing both control and the unknown. My ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. In scientific disciplines, a line is classified as an event. Something as primitive as a scrawl on a surface reveals an aggregate of events, intersecting and changing course. Drawings made on the seamless backdrop describe an emotional space. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. My interest in photography is interdisciplinary and synergistic, informed by the written word, painting, drawing, sculpture, and the raw material of human experience. All images are made using an early 20th century 8x10" view camera. Large format negatives are scanned and printed without digital manipulation in editions of 5 (40"x50") and 10 (24"x30")."Source: www.laurensemivan.com Her ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. "Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds". Semivan’s work resides in the collections of the Nelson Atkins Museum, Cranbrook Art Museum, and the Wriston Art Center at Lawrence University, and has been featured in Wall Street International Magazine, the New Yorker, Artforum, and Photograph magazine.Source: Benrubi Gallery
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
Kim Kyung Soo
Kim Kyung Soo
Korea
1975
Born in Seoul, Korea in 19752002 Bachelor Degree in photography, Sangmyung University, Seoul, KoreaLives and Works in Seoul, Korea When Vogue Korea asked Kim Kyoungsoo, a renowned fashion photographer to realize a series of fashion portraits that would (re-actualize) the traditionnal Korean costum (Hanbok), he also decided to realize his series Full Moon Story. His models are elegantly staged, wearing somptuous Hanbok, with their haircuts and make-up done perfectly. There is a serenity, poetry and softness which emanates from the pictures that astonishes and instantly puts the viewer in a contemplative state of mind. "During the National traditionnal festivities called 'Chuseok', many Korean people used to wear the hanbok. I wanted to show this typical ambiance with both a lyric and modern touch. I wanted a neutral stage; only shadows and reflections mattered to me: Colours, faces and models were enhanced by cold and light tones creating an almost surreal feeling." Source: www.galerieparisbeijing.com
Oana Daian
Oana Daian
Romania
Oana Daian is a photographer from Romania, currently based in Iasi. After a 12-year career in local television, where she worked as a presenter, show producer, and, for the past four years, as a marketing coordinator, she has now chosen to join the team of the National Theatre in Iasi as the institution’s PR representative. Her interest in visual imagery, its composition, and the communication of emotions and information through it was the trigger that inspired her to embark on a magical journey into the world of photography. Statement: Nature has always been my silent companion and greatest teacher. Through photography, I seek to capture its details, its distances, its depths, and its essence — all in synchronicity with my own presence within it.Between me and all of this, a camera and a lens that that explore the world beyond and my inner self; two universes resonating in unison, living the same moment and the same emotion, dissolving the boundaries between them and becoming a mirror of all our experiences. I wish for those who look at my photographs to rediscover, in this mirror, the most beautiful part of their soul. AAP Magazine: AAP Magazine 51 Colors
Morteza Nikoubazl
Morteza Nikoubazl
Iran
1974
I was born in Tehran, Iran in 1974 and studied art and photography there. I started work as a freelance photographer for Iranian daily and weekly newspapers. I began working with the Reuters team as Freelance photographer since 1999 till 2013. After Reuters I worked with the New York Times International magazine, Polaris Images, Zuma Press and SIPA PRESS photo agencies and now I am working with the NurPhoto press photo agency. I am also UNHCR trusted photographer in Iran. Sense of death amid the COVID-19 outbreak in Iran Today is about one year after Government announced officially the COVID-19 cases in Iran and death still is everywhere. I could see patients who were infected by the new coronavirus in COVID-19 wards of hospitals who were breathing and after two hours they were died. In fact, life seems gone, time were stoped and people were looking for an empty hospital bed for their relatives. Sense of death is covered the daily life of people who have to fight with a new invisible enemy, and it will be getting worse when a country is under International sanctions. I was in the city of Bam for covering the earthquake in 2002-2003 and could see a U.S. Military cargo airplane landed after about 25 years since the Victory of the Islamic Revolution in Iran and I could see how the humanity could pass over the politic, but today I am witness how politic cover the humanity, sanctions still work and it pushed Iran to the end of the line of vaccine. People die left and right also medical personnel, But they hear about barriers to the import of the COVID-19 vaccines from western countries. When it comes to people's health, politics should be the last priority of countries, but it seems the politic is the first priority for the U.S., Iran and the European countries. On the other hand, Iranians cannot trust the China- Made, or Russian-Made vaccine and prefer the Iranian one, but they must wait until next year and try to be alive.
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