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Paweł Pilch
Paweł Pilch
Paweł Pilch

Paweł Pilch

Country: Poland/United States
Birth: 1966

I was born in Southern Poland and I currently live in USA. My heart and my time is divided between these two countries, and I love being able to call them both home.

My photographic adventure started 20 years ago and eventually become my life’s passion. I received my primary and secondary education in Cracow, studied in NYC’s Hunter Collage and trained at Manhattan’s International Center of Photography. In my work I always look for images that can be best expressed with clear lines, bold colors, strong forms and rich textuers. From architectural and still life subjects to landscape and aerial imagery the goal always is to find places and moments when what I see in my viewfinder suddenly comes into sharp focus obliterating everything outside the frame.

As photographers we are always engaging in transforming the 3 dimensional world we live in onto a flat 2 dimensional surface. How successful we are in this pursuit depends on how effectively we can focus our perception, eliminate peripheral distractions and reduce what we see to its most basic visual elements. Every time I pick up my camera or start my drone’s engine the hunt begins for the perfect scene, and with every click of the shutter I ask the hidden image to reveal itself.

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www.pilchphotography.com

 

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Anne Berry
Anne Berry
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Anne Berry's photographs investigate the animal world, the domain of childhood, and the terrain of the Southern wilderness. She also explores themes and metaphors from literature. She was recently named to the "Hot 100 of 2021" list by YourDailyPhotograph.com. Berry has just completed her newest publication of photographs of primates in small European zoos, Behind Glass, 2021 Statement I am deeply concerned with conservation and global warming. I photograph children as heroes traveling through a broken land, like the speaker of TS Eliot's The Wasteland; for we will leave them searching for the Grail that will heal the land. I am specifically passionate about Georgia's painfully beautiful coastal wilderness, with its salt marshes that are crucial to the health of our planet. My photographs speak to the heart and the imagination, evoking empathy and a desire to protect. Through art I add my voice to the literal prose of science. Please visit the One Hundred Miles foundation for the facts on the threats and how to help.
Arkadiusz Kubisiak
Arkadiusz Kubisiak
Poland
1968
Arkadiusz Kubisiak is an independent documentary and portrait photographer. He studied photography at the European Academy of Photography in Warsaw. He participated in numerous workshops, like Transmission pour l’Image in Perpignan, France. He is a member of the Association of Polish Art Photographers in Warsaw, Poland. His work won several awards, for instance, PX3, Prix De La Photographie Paris, Grand Press Photo, National Geographic Poland Photography Competition, SIPA Competition, Tokyo International Foto Award, BZ WBK Press Foto, Honorable Mention at International Photography Award. The work was shown in The Art of Photography Show in The USA, NEY Gallery in Warsaw, Masovian Center of Contemporary Art, Poland, and Warsaw Festival for Photographic Arts, Poland. Arkadiusz published his work in The Eye of Photography Magazine, Paris, France, Black & White Magazine, USA, Silvershotz Magazine in Australia, National Geographic Poland, Digital Camera Poland, Edge of Humanity in The USA in Duży Format, and anywhere.pl, Live & Travel, Plus-Minus, Rzeczpospolita, Poland and in books: Punished Town, Passing Shadows, and group work Poland and its People, published by Press. Arkadiusz works mostly on long-term projects dealing with social issues.
Liu Bolin
Liu Bolin
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Liu Bolin is an artist born in China’s Shandong province in 1973, and he earned his Bachelor of Fine Arts from the Shandong College of Arts in 1995 and his Master of Fine Arts from the Central Academy of Fine Arts in Beijing in 2001. His work has been exhibited in museums around the world. Also known as "The Invisible Man", Liu Bolin's most popular works are from his "Hiding in the City" series; photographic works that began as performance art in 2005. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Rencontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Galerie Paris-Beijing in Paris and Brussels (2013), Boxart Gallery in Verona (2008), Forma Foundation for Photography in Milan (2010). To celebrate US President Obama's visit to China, he made an effigy of Obama in his honor. He now lives and works in Beijing, China. Source: Wikipedia Born in 1973 in the northern province of Shandong, Liu Bolin trained at the prestigious Central Academy of Fine Arts, a student of the renowned artist Sui Jianguo, who mentored him at the beginning of his career. Liu belongs to the generation that came of age in the early 1990s, when China emerged from the rubble of the Cultural Revolution and was beginning to enjoy rapid economic growth and relative political stability. Liu Bolin is best known for his series of performance photography Hiding in the City. Since his first solo shows in Beijing in 1998, Liu Bolin’s work has received international recognition. Among other international venues, his distinctive photographs and sculptures have been shown at the major contemporary photography festival Les Recontres d'Arles and he had solo shows at Dashanzi Art Zone in Beijing (2007), Galerie Bertin-Toublanc in Paris (2007), Eli Klein Fine Art in New York (2008), Boxart Gallery in Verona (2008/2010). He now lives and works in Beijing. Source: Box Art Gallery Better known as The Invisible Man in media circles. He discusses the social concerns of his home country through his artistic practice, most prominently through his ‘camouflage’ installations. Traversing mediums such as performance, photography, Liu Bolin dissects the tense relationship between the individual and society by ‘disappearing’ into environments which are sites of contention and criticism. His “Hiding in the City” series has been displayed in numerous museums and institutions across the globe. Inspired by his powerful visual messages, artists and institutions and organizations such The Louvre (Paris, France), Harper’s Bazaar Magazine, JR, Carlos Cruz-Diez, Jon Bon Jovi and Kenny Scharf have invited Liu Bolin to collaborate on creative projects.Source: Liu Bolin Studio
Jacopo Maria Della Valle
Jacopo Maria Della Valle
Italy
1979
I was born in Rome in 1979. When I was 6 years old I received my first camera and I fell in love with it at once. The camera has always been the means to get in touch with everything around me, savor it, store it and make it mine. As a child my dream was to become a director, I studied scenography at the Academy of Fine Arts in Rome and I worked as a Digital Artist at Cinecittà, but it's through photography that I found the best way to express myself. I'm not a great lover of technique and rules, for me it's fundamental to train the eye and the heart (as Cartier-Bresson quoted) to capture moments, looks and gestures that contain stories, experiences, sensations and can communicate some emotion. The real keystone was when I put together my two great passions: photography and traveling. Traveling with the aim to photograph and photographing with the aim to travel, made me snap like a spring, every trip became an outlet to get out of the monotony of everyday life and makes me feel alive. I started traveling around Europe, in the United States, Africa and Cuba. I traveled around Asia accompanied by Terzani's reading and I was fascinated by the different Asian cultures. My main interest is the knowledge and the discovery of the authenticity of different populations which still live in respect of their particular cultural traditions. I undertake long journeys to reach the populations that still survive globalization and I always try to get in close contact with local people and live their own customs and traditions. I use the camera to connect with the other and with my shot I try to represent who I am in front of, with all his cultural and emotional baggage. This is why I prefer to take portraits, to reproduce the essence of who I meet. I hope with my photos to convey the same emotions that these meetings arouse in me.
Joseph-Philippe Bevillard
Joseph-Philippe Bevillard
United States/France
Born in Boston, Joseph-Philippe started drawing and painting after he lost his hearing at the age of 3. He took up photography during his senior year at a private school in Massachusetts. In 1985, he enrolled at the Rochester Institute of Technology to study photography where he remained there for 2 yrs before changing direction in career due to financial circumstances, In 1990 he return to photography to study at the Art Institute of Boston. It was in 1990, Joseph-Philippe developed a style for his square B&W portraitures of people he met in the nightclubs and on the street. After working for several major photo labs in Massachusetts in the last half of 1990, he moved to Ireland during the millenium to start his property management business. In 2007, he went back to photograph portraits using the same camera and style as he did in the early 90's. In 2010, he started a new project, photographing the Irish Travellers and four years later, he formed the Irish Travellers Photo Workshop. In June 2018, Joseph-Philippe started a colour project on Irish Travellers using a digital camera and continue shooting B&W film with Hasselblad. His work has been published by Amnesty International, Der Spiegel, EyeShot, Dodho, FotoNostrum, British Journal of Photography, Junge Welt, Lenswork, Life Force, Photo-Letter, Square, Shots and Vogue Italia as well as received awards from International Photography Awards, PX3 Paris, Photo Vogue Italia, FotoNostrum and Lensculture. His recent exhibitions included Les Recontres d'Arles, Espace Beaurepaire Paris, Leica Gallery Milan, Somerset House London, New Hampshire Institute of The Arts, Royal Hibernian Academy Dublin and Central Intelligence Agency in Washington, DC. His first monograph 'Minceirs' will be available in early May 2021 and can be pre-ordered through this link: www.skeletonkeypress.com or thru the artist. For workshop info, exhibition, publication and prints enquiry, please contact the artist through his email at: joseph-philippebevillard@hotmail.com MINCÉIRS: Mincéirs are a traditionally nomadic ethnic minority indigenous to Ireland, referred to by the Irish Government and the settled population as Irish Travellers. The Mincéir is a true name of the Irish travelling community in their own language which is called Cant or Gammon. Although the Irish Travellers speak English, the lingo they use amongst each other at times is Cant/Gammon. The name Traveller was put upon them because of their nomadic identity. Back in the 5th century the term these groups of people were called Whitesmiths because of their association and skills as tin-smithing. Over the years the Irish Travellers have been called Tinkers, Knackers, Itinerants, Gyspy and Pavee by some of the settled population which the Irish Travellers have found very offensive and racial. Any settled person who is not racist would use the term Irish Traveller or Travellers which is politically correct. Unfortunately many of the Irish Travellers are subjected to the continuous use of these offensive labels. I would like to mention a few facts and some background information on this minority group of people who live mostly in Ireland I will refer to them as Irish Travellers or Travellers for short. Approximately 35,000 Travellers live in Ireland, less than 1% of the Irish population. Most of the Irish Travellers live in halting sites which have been designated by the Irish government in 1968. The government were not happy with the Irish Travellers roadside camping, so they set up the so called temporary sites. Some families chose to stay and never moved, there are many of these halting sites which I have been privy to visit, but some are overcrowded due to large families and lack proper updated facilities. This in turn has forced some families to set up their own camps in disused fields, but because seen as illegal encampments the local councils are constantly trying to move the families on, and will not provide basic needs such as fresh water, electricity or sanitation. There is a small amount of Irish Travellers who wish to settle and have gone on the housing list. This can also be a tricky situation settled neighbours usually oppose having a travelling family living on their road, these leads to tension and racial abuse at times. So this discourages many families from settling. While education is mandatory for all children living in Ireland, the Irish Travellers usually drop out by the age of 15, a lot of this is due to the children being needed at home to tend to the younger or some just find mainstream school boring and not suited to their culture. I have heard from a home economics teacher that her class is probably the most popular subject amongst the female Travellers as cooking is necessary. There have also been some fantastic stories of Irish Travellers finishing 3rd level education and obtaining great careers such as Dr. Sindy Joyce. Dr. Joyce is the first Irish Traveller to graduate with a PhD and was recently appointed by our President as one of his advisors for council of the state in 2019. Vice-Chair of the National Traveller Mental Health Mags Casey explained that the causes of mental health issues affecting Travellers are Complex: "Clearly the issues that affect all Travellers-such as racism and exclusion matters relating to identity, sexuality, addiction, as well as unemployment, education and accommodation have a profound impact on the community's mental health". The following information is an excerpt from the National Traveller Mental Health Network officially launched in NUI Galway in 2019: 82 % of the Irish Traveller community have been affected by suicide. 90% Of Travellers agree that mental health issues are common amongst their community 56% of Travellers report poor physical and mental health restricts their normal daily activities. In March 2017, after 25 years of campaigning, finally Irish Travellers won formal recognition as a distinct ethnic group within the State. On that day the former director of the Irish Travellers Movement, Bridgid Quilligan stated: "We want every Traveller in Ireland to be proud of who they are and to say that "we are not a failed set of people. We have our own unique identity, and we shouldn't take on all the negative aspects of what people think about us. We should be able to be proud and for that to happen our State needed to acknowledge our identity and our ethnicity, and they're doing that today." What I have written is brief with some facts about these fascinating people who have made me feel utterly welcome at all times for the past 11 years. I am clearly not a writer, so I have recorded some facts and a brief synopsis into the life of Irish Travellers. I hope my photographs portray what I could not begin to write, and captured some of the Irish Travellers Lifestyle and Culture that is steeped in traditions, full of colour, celebrations, and hardships. Joseph-Philippe Bévillard, September 2020
Christian Vizl
Christian Vizl
Mexico
1972
CHRISTIAN VIZL was born in México City and has been a photographer for over three decades. He has won dozens of international professional awards including Wildlife Photographer of the year, International photographer of the year and Sony World Photography awards. He has served as judge in several international underwater photography contests and his images have been published in numerous outlets including National Geographic and Ocean Geographic. Artist Statement "Every since I was a kid, as far back as I can remember, I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving in stasis all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. I have devoted my life to exploring and contemplate the amazing beauty of the ocean and it has been an incredible journey that has brought me a deep feeling of connection with nature, but sadly during my lifetime I have witness the ever-increasing devastation that we humans are creating in this planet. Today the world's Ocean is in grave danger. Overfishing, pollution, plastics, radiation, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it's animals are being pushed to near extinction. The time to act and reverse our negative impact is now, before it's too late risking loosing everything. The majority of humans see marine animals merely as tons of food, but I see them as so much more than that. They don't have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand. I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my main purpose as a photographer is to create poetic images showing the incredible beauty of these animals knowing they carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected to all living animals, and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, "No blue no green, if the oceans die, we die" All the images where taken in their natural environment, with great respect to the animals, and for postproduction I only use basic settings in Lightroom." Photography is all about light, and in my opinion, it is the single most important aspect when it comes to creating appealing, inspiring and touching images. Beyond technical issues, what's most important is how I apply and manipulate the light that's available in order to create pictures with dramatic effect, carrying depths of emotion and using contrast and tonalities as means to emphasize form and structure of the scenery. I focus on the emotional impact of the final shot that will connect on a deeper level with the people that observe these photographs. Just as a poet uses words to create poetry, a photographer uses light to create images. So when I'm underwater taking pictures, one of my goals is to create poetic images through the use of light. I try to capture sublime moments of the marine environment, the essence of being there, in that experience and in the presence of that particular animal, capturing their splendor and soul. It's sheer beauty and poetry with images that inspire, make us vibrate through the beauty in every corner of the ocean, an epic sight that make us dream of a better world, where we value and care for all expressions of life.
Antti Yrjönen
Antti Yrjönen
Finland
1992
Antti Yrjönen is a Finnish photojournalist and documentary photographer with over a decade of experience reporting internationally and at home. He works across media and humanitarian contexts, covering conflict, displacement and everyday life in places including Somalia, Syria, South Sudan and Ukraine, while also returning to stories closer to home. He is drawn to stories that can’t be understood in a single visit. Yrjönen revisits places, people and movements over time, building relationships without surrendering his position as a journalist. He works from a simple premise: you cannot photograph what you do not understand. That insistence on understanding shapes both his reporting and the way he edits, sequencing images to create clarity rather than noise. His photographs look for nuance and for the small details that hold a larger story in place, sometimes through quiet humour or a hint of the surreal. For Yrjönen, humour is not a distraction from difficult realities but part of them: a sign of life, especially in hard times. Alongside visual work, he writes on visual culture, journalism ethics, media critique and press freedom, and he occasionally lectures on responsible photojournalism and conflict reporting. His work has been published internationally by outlets including The New York Times, BBC, Le Temps, Bloomberg, Haaretz, Frankfurter Allgemeine Zeitung, Condé Nast Traveller, Helsingin Sanomat and Suomen Kuvalehti, and he has received multiple awards for his photography. He studied photojournalism at Tampere University and is currently developing a long-term book project on polycrisis at the intersection of conflict, climate change and food security. Statement "Photography is how I stay present. Being there matters, but so does being in the moment. I return to the same places and people because understanding takes time, and because you can’t photograph what you don’t understand. My work follows power up and down its chain, from policy rooms to street corners and back again, looking for the human consequences of politics, conflict and crisis. Sometimes a quiet humour slips in, not to soften reality, but to tell it honestly." Awarded Photographer of the Week - Week 05, 2026
Michael Jackson
Michael Jackson
United Kingdom
1966
British b.1966, in Wokingham, Berkshire. Jackson trained as a painter at West Dean College, England. After moving to Wales In 2007 he started work on an extensive study of a single remote beach, Poppit Sands, which lasted for eight years until 2015. Jackson won the Chris Beetles Award in 2013 and became a Hasselblad Masters Award finalist three times in 2008, 2009 and 2012. Now regarded as a leading exponent of the luminogram process, he works with uniquely developed techniques and response mirroring using silver gelatin paper in the darkroom. In 2017 his luminogram work was paired with theologian Edwin A.Abbott in a book published by 21st Editions, titled after Abbott's famous work 'FLATLAND' and premiered at the Grand Palais in Paris. His work is held at the National Gallery of Art in Washington and the collection of the University of Minnesota. Artist Statement "I am a British photographer based in rural Wales, UK. Born 1966. Studied art at West Dean College then apprenticed under the landscape painter Christopher W. Baker. Since moving to Wales in 2007 I have been photographing a single beach - Poppit Sands. This seems to be something that I am compelled to do as I have not yet tired of it. My goal is to keep on looking harder and hope that through studying a single subject I can find something new. The images have toured with the Hasselblad Masters On Tour twice and have been exhibited in Copenhagen, Hong Kong, Beijing, Berlin, New York, Cardiff, London & Los Angeles as well being featured in magazines such as LENSWORK, SILVERSHOTZ and SHOTS as well as blogs such as LENSCRATCH, CNN & FEATURESHOOT. The images have also reached the Hasselblad Masters Finals three times."Source: www.mgjackson.co.uk
John Kenny
John Kenny
United Kingdom
In 2006 I developed my style of portrait photography within traditional communities, heavily influenced by the dramatic pictures of chiaroscuro artists. Chiaroscuro is an Italian term which literally means light-dark. Back then, at the very start of my Africa journey, I was buzzing with energy having met people of real magnetism just days into my trip. I was excited by extraordinary people and fascinating cultures and wondered how I could possibly communicate and express these feelings of excitement to friends and family back home.The solution, I imagined, would involve abstracting the remarkable from the not so remarkable: put simply, I felt that the vibrant and intense individuals that I had met in traditional communities would best show their magnetism on camera when they were removed from the (often) dull and dusty backgrounds of their immediate environment. After a few days I started to imagine each of these people in front of me emerging from the nothingness of darkness, with no distractions, hoping that this would provide a real feeling of proximity between the viewer and the person in the picture. I made a conscious decision at that time to leave a more documentary style of environmental portraiture to others. Practicing this new technique in remote African villages in 2006 I had nothing but sunshine and a hut available as a great ‘open studio': so I used these parameters and started experimenting (I've never really liked flash anyway). So it's simply the illumination of natural sunlight, and sun on dry earth, that reaches into the darkness of huts and lights up these remarkable people. Sun and dry earth are the only ingredients required for the lighting in my prints. And of course, you also need to find exceptional people!Falling in love with photography, and the origins of this series:I first fell in love with photography around 2003. I had not been fortunate enough to receive an art or photography education, but I knew back then, when I picked up my first SLR camera, that I had found the perfect way to express myself. Every time I had the camera in my hand I was looking to improve, needing to know what everything and anything looked like once it had been through the photographic process. It was a bit like a mad pursuit of alchemy - throwing everything into the mix to see if any magic came out of the other side. The process of photographic learning is very rarely a simple one, but to me it remains beautiful: discoveries, experimentation and seeing for the first time how a camera distorts and enhances the world.In Africa I seem to have made it my goal to travel through some of the remotest areas of the continent where the reaches of urbanisation and 21st century living are barely detectable. Looking back, this wasn’t my intention when I first arrived there in 2006, but somehow I keep returning to Africa to photograph because I'm fascinated to encounter societies that are able to survive in some of the most arid, isolated and difficult environments that people have settled in. If you haven’t visited these places then the reality of living is not nearly as romantic or idealised as one might imagine. Life takes place against a backdrop of very uncertain resources and enormous hardships, but traditions and hospitality towards outsiders remain intact.I specifically chose to photograph the individuals that you see in these galleries because I had a very real sense of wonder when I met them. Each one of these people had something that attracted me, sometimes a piercing intensity, or an uncommon beauty, that I felt compelled to try and capture. It’s true that I photograph for myself, first and foremost, but a close second is my desire to show others this magnetism that draws one into the eyes of these fascinating people.I have usually travelled alone or with a guide on these journeys, along the way walking and hopping onto overloaded vehicles of every kind to head to remote settlements. Often the destination is a transient, weekly market where hundreds of vibrant, colourful people assemble somewhat incongruously against a dull, dusty backdrop for a few hours. Later in the day they will all melt away with their animals and traded possessions, until the location is again a patch of bone-dry ground with almost nothing to separate it from the rest of the featureless land that typifies much of the African Sahel. It is fascinating to observe this process play out in almost exactly the same way across countless African countries, many of which are separated by hundreds or thousands of miles across this huge continent’s surface.My favourite tools are sharp prime lenses and cameras that let you capture the tiniest pieces of detail: whilst these details may be insignificant alone, when aggregated I feel they help paint the picture of the environment and how each person adapts to theirs.My favourite series of work remains the Northern Kenya series which involved 6 weeks of intense travelling with my guide, Mo, across remote areas without a vehicle and often without any semblance of an idea how to get to the next tiny settlement. The trip was full of unique encounters in locations that seemed to be famous, to me at least, as places where no transport seemed to be heading. On one particular occasion we came across a lone Moran (warrior) emerge into the dawn light, miles from anywhere. He seemed like a mirage: a vibrant vision in pink cloth and bright colourful jewellery, and more acutely so when set against the hazy yellow monotone of land that he emerged from. Even for Northern Kenya, I thought he seemed to be in a remote, featureless location: devoid of any water, and within an hour it would again be blistering hot. Despite these uncomfortable realities - which clearly weighed more heavily on my mind than his - the warrior seemed confident of his bearings and stopped for a moment to exchange pleasantries with Mo and I. A couple of minutes later, after sharing cigarette with my guide, he purposefully set off walking again, to God knows where. This place that looked barren and foreboding, to me at least, was clearly his home.
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