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Daniel Berehulak
Daniel Berehulak

Daniel Berehulak

Country: Australia

Daniel Berehulak is an award-winning independent photojournalist based in Mexico City, Mexico.

A native of Sydney, Australia, Daniel has visited over 60 countries covering history-shaping events including the Iraq war, the trial of Saddam Hussein, child labour in India, Afghanistan elections and the return of Benazir Bhutto to Pakistan, and documented people coping with the aftermath of the Japan Tsunami and the Chernobyl disaster.

His work has been recognized with two Pulitzer prizes. In 2015, for Feature Photography for his coverage of the Ebola epidemic in West Africa and in 2017 for Breaking News Photography for his coverage of the so-called war on drugs in the Philippines, both for The New York Times. In 2011, he was also a Pulitzer finalist for his coverage of the 2010 floods in Pakistan. These are some of several honors his photography has earned including six World Press Photo awards, two Photographer Of The Year awards from Pictures of the Year International and the prestigious John Faber, Olivier Rebbot and Feature Photography awards from the Overseas Press Club amongst others.

Born into a Ukrainian refugee family, Daniel grew up on a farm outside of Sydney, Australia. Their Ukrainian practicality did not consider photography to be a viable trade to pursue, so at an early age Daniel worked on the farm and at his father's refrigeration company. After graduating from The University of NSW with a degree in History, his career as a photographer started humbly: shooting sports matches for a guy who ran his business from his garage. In 2002 he started freelancing with Getty Images in Sydney shooting mainly sport.

From 2005 Daniel was based in London and from 2009 in New Delhi, as a staff news photographer with Getty Images til June of 2013.

As of July 2013, Daniel embarked upon a freelance career to focus on a combination of long-term personal projects, breaking news and client assignments.

He is a regular contributor to The New York Times.

Websites

www.danielberehulak.com

@danielberehulak

 

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More Great Photographers To Discover

Anne-Claire Vimal du Monteil
Anne-Claire Vimal du Monteil
France/Canada
1975
Originally from France, Anne-Claire Vimal du Monteil holds a master's degree in Cinematography and a degree in Art History. She worked in culture and cinema in Paris from 1998 to 2005 and then chose to become a commercial photographer and high-end retoucher. In 2009, she moved to Montréal and in 2016, she transitioned to an artistic photography practice. Since 2021, she also works in VFX industry for cinema and TV. Anne-Claire Vimal du Monteil received prices and honorable mentions in many international photography contests. She exhibited her work in Montréal, Londres, Rome and Séoul. She is showcased by Grizzly Montreal. Statement : Her artistic work has two main components : psychological portraits and plastic experimentation. Her portraits take root in psychological and philosophical themes linked to the quest for the self. They take the form of dreamlike, poetic and symbolic pictures. The difficult search and discovery of identity is one of the recurring topics of her work. Her research is also often inspired by the status of women. Her plastic experimentation pictures explore the transformation of reality in the pictorialist or impressionist lineage of photography. Feeling and emotion take precedence over the precise representation of the subject. Reality is distorted and blurred through all kind of real-life filters such as fabric, water, see-through materials.
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.
John Divola
John Divola
United States
1949
John Divola is an American contemporary visual artist born in 1949 in Los Angeles, CA. He received a B.A. from California State University, Northridge in 1971 and later received an M.F.A. from the University of California, Los Angeles in 1974. He has held residencies at many institutions including the California Institute of the Arts. He has held the position of Professor in the art department at the University of California Riverside since 1988. His work has been featured in many solo exhibitions across the United States, Europe, Japan, and Australia. He participated in 1978, 1989, and 2000 Museum of Modern Art group exhibitions and in the 1981 Whitney Biennial. Divola received awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. In Zuma project, he has described being interested in the relationship between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his series of photographs from 1977, he used deserted houses on Zuma Beach and covered their walls in graffiti. He photographed the ocean from the house's interior through windows and cracks. Divola states: "On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point, I would return to the camera and explore whatever new potentials existed." These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement, and transcendence. "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." Dogs Chasing My Car In The Desert are images of dogs in the desert captured in the midst of running wildly after the car. Emphasizing the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behavior of the dogs suggests a lack of previous stimuli, and loneliness at the same time as an all-consuming reaction to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the Dark Star series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly sinister illuminating our conflicted recent history, updating Zuma and Vandalism for our age of foreclosure. In the As Far As I Can Get project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds. John Divola currently lives and works in Riverside, CA. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific.Source: Wikipedia
Beverly Conley
Beverly Conley
United States
Beverly Conley is a documentary photographer in Benicia, California. She has found true satisfaction in long-term self assigned projects that have focused on individuals and contemporary society. Her quest has allowed her to enter the private world of Gypsies in England, the Cherokee Nation in Northeastern Oklahoma, steelworkers in Weirton, West Virginia and the Cape Verdean Communities in Boston and the Cape Verde Islands. Solo exhibitions include the Fort Smith Regional Art Museum in Arkansas, the Black Arts Center in Kalamazoo, Michigan, the Museum of Native American History and Culture in Bentonville, Arkansas, the Boston Public Library and the George Meany Center for Labor. Her work has been featured in juried exhibitions and group shows such as the Festival of American Folklife at the Smithsonian Institution and the Cleveland Museum of Art. She is represented in numerous permanent collections including the Smithsonian's National Museum of African American History and Culture, the Toledo Museum of Art, the Cleveland Museum of Art, the Museum of London, the New York Public Library, the Schomburg Center for Research in Black Culture, the Boston Public Library, the Museum of Native American History and Culture in Bentonville, Arkansas and the Cleveland Public Library. Beverly is the recipient of a 2002 Michigan Creative Artist Grant and she has received awards from the Utah Press Association, the International Regional Magazine Association and an excellence award by Black and White Magazine for their 2017 Special Issue. She is a member of the American Society of Media Photographers (ASMP). Life in the Ozarks: An Arkansas Portrait My ongoing project began in 2003 with a drive down a rural country road. I had recently moved to Fayetteville and was anxious to explore my new surroundings. The resulting images tell the stories of people, events and everyday life in and around small towns in the rugged Ozark Mountains. They represent different aspects of these communities – young and old, recent immigrants, preachers, cowboys, farmers and those whose families have lived in the Ozarks for generations. I am interested in documenting the vestiges of an older Ozarks. There is a sense of timelessness that I want to convey in my work. I am drawn to the less travelled back roads where catfish are caught bare-handed, folks gather on porches to play bluegrass and subsistence farming is still in existence. Living and photographing in the same place gave me the opportunity to observe the changes of a region in transition. Northwest Arkansas experienced tremendous growth in the last decade with rural communities inching closer and closer to cities. I really imagined this unique Arkansas heritage would be lost. What I have since discovered is the resilience and self- sufficiency of a complex culture that stands with one foot in the present and the other in the past. An individual might have a day job at a Walmart but returns to a hand built home and the traditions of the 'holler' at night. Through these photographs and words it is my intention to preserve and share the richness of this Southern way of life with a broader audience. Life in the Ozarks: An Arkansas Portrait Appleby Horse Fair: The Annual Gathering of Gypsies & Travellers Smithfield Market
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.
Nelli Palomäki
Nelli Palomäki
Finland
1981
Nelli Palomäki was born 1981 in Forssa, Finland. At the moment she lives and works in Karkkila and Helsinki, Finland. Her timeless portraits of children and young people reveal the fragility of the moment shared with her subject. Palomäki’s photographs deal with the growth, memory and our problematic way of seeing ourselves. One of the crucial themes in her portraiture is our mortality. She describes: “We fight against our mortality, denying it, yet photographs are there to prove our inescapable destiny. The idea of getting older is heart-rending.” She is a graduate of Aalto University School of Art, Design and Architecture in Helsinki. Palomäki’s works have been exhibited in numerous international solo and group exhibitions. Selected solo shows: Shared (Galerie Les Filles du Calvaire, Paris 2018), Shared (Gallery Taik Persons, Berlin 2017), Jaettu (Forum Box, Helsinki 2016), Breathing the Same Air (Ordrupgaard Art Museum, Copenhagen 2013), Nelli Palomäki (The Finnish Museum of Photography, Helsinki 2013), Sons of Nakhimov (The Wapping Project Bankside, London 2012), As time consumes us (Les Rencontres d’Arles, Discovery Award 2012), As time consumes us (Kulturhuset, Stockholm 2011), Elsa and Viola (Next Level Projects, London 2011), Elsa and Viola (Gallery TAIK, Berlin 2009), I, Daughter (Turku Art Museum, Turku 2008). Her photographs have been shown in several group shows including Helsinki City Art Museum, Hasselblad Foundation in Gothenburg, Bruce Silverstein Gallery in New York, Daegu Photo Biennale in South Korea, The National Museum of Photography in Copenhagen, Purdy Hicks Gallery in London and Aperture Gallery in New York. Palomäki’s photography has been featured in several publications such as TIME magazine, British journal of photography, Independent magazine, New York Magazine, Zoom and Exit. Her book Breathing the Same Air was published spring 2013 by Hatje Cantz. In spring 2010 Palomäki placed 2nd in Sony World Photography Awards in portraiture category and the same year Hasselblad Foundation awarded her the Victor Fellowship Grant for the studies in London. She has been selected as one of the young emerging artist for the reGeneration2–Tomorrow's Photographers Today project. In summer 2012 Palomäki was nominated for the Discover Award at the Rencontres d’Arles in France. Permanent collections include: Moderna Museet in Stockholm; The Hague Museum of Photography, Hasselblad Foundation in Gothenburg and Helsinki Art Museum. Palomäki is represented by Gallery Taik Persons (Berlin), Galerie Les filles du calvaire (Paris) and Jackson Fine Art (Atlanta). Source: nellipalomaki.com About The Work Seen and captured by someone else’s eyes reminds us that the image we have of ourselves is not absolute, it is not truthful. In many senses the mirror lies more than a photograph. We learn to see ourselves in such a one-dimensional way, that hardly any image can satisfy us anymore. While time gnaws away at the faces of us and our close ones, we return to look at the pictures from our past. As beautiful or poignant as an image may be; as much as we could garner from it emotionally, the feeling for which we search remains intangible and elusive. We will never fully comprehend or recreate the moment, it died at the moment of its’ birth. Sadly, the portrait is just a shadow of our meeting, a small stain of the time we spend together. Each and every portrait I have taken is a photograph of me too. What I decide to see, or more likely, how I confront the things that I see, inevitably determines the final image. But more than that, the intensity of the moment shared with the subject, controls the portrait. As we stand there, with our grave faces, breathing the same heavy air; never so aware of each other’s details. One blind and lost without seeing his own appearance, one desperately trying to reach the perfect moment. The complexity of portraiture, its greatest trap, eventually always lies on its power relationships. What I desire to find and to reveal might be someone’s secret. These secrets, finally shown to the viewers, as they were mine. A portrait remains forever. It is a desperate way to stay connected to someone who, though possibly a stranger, remains so familiar. It is my way of preserving a part of that person, embalming them. Through the portrait I build a relationship with my subject. I carry my subject’s memories with me, memories, as they are, being so intimately connected with photographs. Secretly I study their faces. This is how I remember them. I wonder how they remember me. As the time eats slowly away at us, I still hold these images of them, like they are the only way I ever knew, or will know these people. And that ever pervasive feeling; I met them. They will die and eventually I too will die.
Carl De Keyzer
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
David Octavius Hill
David Octavius Hill
Scotland
1802 | † 1870
David Octavius Hill was a Scottish painter, photographer and arts activist. He formed Hill & Adamson studio with the engineer and photographer Robert Adamson between 1843 and 1847 to pioneer many aspects of photography in Scotland. Hill was born in 1802 in Perth. His father, a bookseller and publisher, helped to re-establish Perth Academy and David was educated there as were his brothers. When his older brother Alexander joined the publishers Blackwood's in Edinburgh, Hill went there to study at the School of Design. He learned lithography and produced Sketches of Scenery in Perthshire which was published as an album of views. His landscape paintings were shown in the Institution for the Promotion of the Fine Arts in Scotland, and he was among the artists dissatisfied with the Institution who established a separate Scottish Academy in 1829 with the assistance of his close friend Henry Cockburn. A year later Hill took on unpaid secretarial duties. He sought commissions in book illustration, with four sketches being used to illustrate The Glasgow and Garnkirk Railway Prospectus in 1832, and went on to provide illustrations for editions of Walter Scott and Robert Burns. In the 1830s he is listed as living at 24 Queen Street, in Edinburgh's New Town. In 1836 the Royal Scottish Academy began to pay him a salary as secretary, and with this security he married his fiancée Ann Macdonald the following year. After the birth of their daughter, Charlotte Hill, Ann was invalided, and died on 5 October 1841, aged 36, and was buried with her family in Greyfriars Churchyard in Perth. Charlotte Hill went on to marry the author Walter Scott Dalgleish LLD and is buried in Grange Cemetery. During this period he lived at 28 Inverleith Row in Edinburgh's northern suburbs and he continued to produce illustrations and to paint landscapes on commission. Hill was present at the Disruption Assembly in 1843 when over 450 ministers walked out of the Church of Scotland assembly and down to another assembly hall to found the Free Church of Scotland. He decided to record the dramatic scene with the encouragement of his friend Lord Cockburn and another spectator, the physicist Sir David Brewster who suggested using the new invention, photography, to get likenesses of all the ministers present. Brewster was himself experimenting with this technology which only dated back to 1839, and he introduced Hill to another enthusiast, Robert Adamson. Hill and Adamson took a series of photographs of those who had been present and of the setting. The 5 feet (1.5 m) x 11.4 feet (3.5 m) painting was eventually completed in 1866. Hill moved to "Calton Hill Stairs" in 1850. Their collaboration, with Hill providing skill in composition and lighting, and Adamson considerable sensitivity and dexterity in handling the camera, proved extremely successful, and they soon broadened their subject matter. Adamson's studio, "Rock House", on Calton Hill in Edinburgh became the centre of their photographic experiments. Using the calotype process, they produced a wide range of portraits depicting well-known Scottish luminaries of the time, including Hugh Miller, both in the studio and outdoors, often amongst the elaborate tombs in Greyfriars Kirkyard. They photographed local and Fife landscapes and urban scenes, including images of the Scott Monument under construction in Edinburgh. As well as the great and the good, they photographed ordinary working folk, particularly the fishermen of Newhaven, and the fishwives who carried the fish in creels the 3 miles (5 km) uphill to the city of Edinburgh to sell them round the doors, with their cry of "Caller herrin" (fresh herring). They produced several groundbreaking "action" photographs of soldiers and - perhaps their most famous photograph - two priests walking side by side. Their partnership produced around 3,000 prints, but was cut short after only four years due to the ill health and death of Adamson in 1848. The calotypes faded under sunlight, so had to be kept in albums, and though Hill continued the studio for some months, he became less active and abandoned the studio, though he continued to sell prints of the photographs and to use them as an aid for composing paintings. In 1862 he remarried, to the sculptor Amelia Robertson Paton, 20 years his junior, and around that time took up photography again, but the results were more static and less successful than his collaboration with Adamson. He was badly affected by the death of his daughter and his work slowed. In 1866 he finished the Disruption picture which received wide acclaim, though many of the participants had died by then. The photographer F.C. Annan produced fine reduced facsimiles of the painting for sale throughout the Free Church, and a group of subscribers raised £1,200 to buy the painting for the church. In 1869 illness forced him to give up his post as secretary to the RSA, and he died in May 1870. Hill is buried in Dean Cemetery, Edinburgh - one of the finest Victorian cemeteries in Scotland. He is portrayed in a bust sculpted by his second wife, Amelia, who is buried alongside him.Source: Wikipedia
Zhang Xiao
Zhang Xiao
China
1981
Born in 1981 in Yantai city, Shandong province, China, Zhang Xiao graduated from the Department of Architecture and Design at Yantai University in 2005. He was a photojournalist for Chongqing Morning Post. Zhang won the Three Shadows Photography Award in 2010 with They series. He also received the second Hou Dengke Documentary Photography Award in 2009, The Photography Talent Award (France) in 2010 and the Prix HSBC pour la Photographie in 2011 with his Coastline series. In 2018, He won the Robert Gardner Fellow in Photography of Harvard University. Zhang currently lives and works in Chengdu city, Sichuan province, China.
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Interview
Exclusive Interview with Manuel Besse
French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
Read the full interview
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