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Win a Solo Exhibition this February. Juror: Harvey Stein
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Christian Vizl
Christian Vizl
Christian Vizl

Christian Vizl

Country: Mexico
Birth: 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.
 

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More Great Photographers To Discover

Claudio Rasano
Switzerland
1970
Claudio Rasano lives and works in Basel, Switzerland. His work explores the relationship between spaces and humans, the subject within the space and the space as the subject itself. Rasano has a genuine and identifiable style that crosses documentary and fine art practices. He works with people from similar backgrounds, circumstances and experiences - environmental portraits and landscapes depicting a quiet anthropological commentary. There is a strong relationship between the environmental portraits and the landscape images. He is the recipient of Photovogue Portraits 2017, Taylor Wessing Photographic Prize 2016, Lensculture portrait award Finalists, Syngenta Photography Award Unseen and Life 2017 Framer World Travellers. 2019 Meitar Award for Excellence in Photography at PHOTO IS:RAEL Statement My work may cross countries and continents, but there is one thing that features centrally throughout, people. People are the focal point of his work, whether it's schoolchildren in South Africa or cigarette sellers in Tirana, the story of the country that Claudio is working in is told through its people. "I love to explore the relationship between spaces and humans, the subject within the space and the space as the subject itself, I work with people from similar backgrounds, circumstances and experiences -environmental portraits and landscapes depicting a quiet anthropological commentary. It is important for me to see that there is a strong relationship between environmental portraits and landscape images." His work is focused around the human stories of an area, but in many cases it is not just the person that is of interest. The composition of many of his images, even when portraits, provides a snapshot of the landscapes and built environments that are around the subject. This contextualises many of his photographs, helping you to build a more rounded impression of the individuals based on their surroundings too - the perfect example of this being his image of South African workmen in sodden clothes.
Gregory Heisler
United States
1954
Gregory Heisler is a professional photographer known for his evocative portrait work often found on the cover of magazines, such as Time, for which he has produced a number of Man, Person, and People of the Year covers. Heisler once had his White House photographer privileges revoked after taking a photograph of President George H.W. Bush for Time magazine in which Heisler used in-camera techniques of double exposure to show what the cover labeled the two faces of Bush. The president was unaware of this photographic technique being used at the time of the shot. Bush press secretary Marlin Fitzwater later wrote about his own anger over this incident in his memoir Call the Briefing! Heisler's trade group protested the ban because it was based on an editorial opinion that was expressed. Heisler has since taken photographs of President George W. Bush. Among the awards, Heisler has received are: 1986 ASMP Corporate Photographer of the Year, 1988 Leica Medal of Excellence, 1991 World Image Award, 2000 Alfred Eisenstaedt Award. In September 2009 Gregory Heisler took a position as Artist-in-Residence at the Hallmark Institute of Photography in Turners Falls, Massachusetts. He acted as a teacher and liaison between the students and world of professional photography, expanding their present curriculum, and providing the students with necessary skills and techniques the school did not previously teach. Heisler has now joined the Multimedia Photography & Design program at the S.I. Newhouse School of Public Communications at Syracuse University as a distinguished professor of photography, according to an announcement by the NPPA on April 25, 2014.
Roger Fenton
United Kingdom
1819 | † 1869
Roger Fenton was a British photographer, noted as one of the first war photographers. He was born into a Lancashire merchant family. After graduating from London with an Arts degree, Fenton became interested in painting and later developed a keen interest in the new technology of photography after seeing early examples at The Great Exhibition in 1851. Within a year, he began exhibiting his own photographs. He became a leading British photographer and instrumental in founding the Photographic Society (later the Royal Photographic Society). It is likely that in autumn 1854, as the Crimean War grabbed the attention of the British public, that some powerful friends and patrons – among them Prince Albert and Duke of Newcastle, Secretary of State for War – urged Roger Fenton to go to the Crimea to record the happenings. The London print publisher Thomas Agnew & Sons became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the British people, and to counteract the occasionally critical reporting of correspondent William Howard Russell of The Times; the photographs were to be converted into woodblocks and published in the less critical Illustrated London News. He set off aboard HMS Hecla in February, landed at Balaklava on 8 March and remained there until 22 June. Fenton took Marcus Sparling as his photographic assistant, a servant known as William and a large horse-drawn van of equipment. Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was only able to produce pictures of stationary objects, mostly posed pictures; he avoided making pictures of dead, injured or mutilated soldiers. But he also photographed the landscape, including an area near to where the Charge of the Light Brigade – made famous in Tennyson's poem – took place. In letters home soldiers had called the original valley "The Valley of Death", and Tennyson's poem used the same phrase, so when in September 1855 Thomas Agnew put the picture on show, as one of a series of eleven collectively titled Panorama of the Plateau of Sebastopol in Eleven Parts in a London exhibition, he took the troops'—and Tennyson's—epithet, expanded it as The Valley of the Shadow of Death with its deliberate evocation of Psalm 23, and assigned it to the piece; it is not the location of the famous charge, which took place in a long, broad valley several miles to the south-east. Despite summer high temperatures, breaking several ribs in a fall, suffering from cholera and also becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make over 350 usable large format negatives. An exhibition of 312 prints was soon on show in London and at various places across the nation in the months that followed. Fenton also showed them to Queen Victoria and Prince Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales were not as good as expected. Despite the lack of commercial success for his Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. However, as time moved on, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common people. It is likely that Fenton, from a wealthy background, disdained 'trade' photographers, but nevertheless still wanted to profit from the art by taking exclusive images and selling them at good prices. He thus fell into conflict with many of his peers who genuinely needed to make money from photography and were willing to 'cheapen their art' (as Fenton saw it), and also with the Photographic Society, who believed that no photographer should soil himself with the 'sin' of exploiting his talent commercially in any manner. Amongst Fenton's photographs from this period are the City of Westminster, including The Palace of Westminster nearing completion in 1857 – almost certainly the earliest images of the building, and the only photographs showing the incomplete Clock Tower. In 1858 Fenton made studio genre studies based on romantically imaginative ideas of Muslim life, such as Seated Odalisque, using friends and models who were not always convincing in their roles. Although well known for his Crimean War photography, his photographic career lasted little more than a decade, and in 1862 he abandoned the profession entirely, selling his equipment and returned to the law as a barrister. Although becoming almost forgotten by the time of his death seven years later he was later formally recognized by art historians for his pioneering work and artistic endeavour. In 1862 the organizing committee for the International Exhibition in London announced its plans to place photography, not with the other fine arts as had been done in the Manchester Art Treasures Exhibition only five years earlier, but in the section reserved for machinery, tools and instruments – photography was considered a craft, for tradesmen. For Fenton and many of his colleagues, this was conclusive proof of photography's diminished status, and the pioneers drifted away. He died 8 August 1869 at his home in Potters Bar, Middlesex after a week-long illness – he was 50 years old. His wife died in 1886. Their graves were destroyed in 1969 when the Potters Bar church where they were buried was deconsecrated and demolished.Source: Wikipedia Roger Fenton is a towering figure in the history of photography, the most celebrated and influential photographer in England during the medium’s “golden age” of the 1850s. Before taking up the camera, he studied law in London and painting in Paris. He traveled to Russia in 1852 and photographed the landmarks of Kiev and Moscow; founded the Photographic Society (later designated the Royal Photographic Society) in 1853; was appointed the first official photographer of the British Museum in 1854; achieved widespread recognition for his photographs of the Crimean War in 1855; and excelled throughout the decade as a photographer in all the medium’s genres—architecture, landscape, portraiture, still life, reportage, and tableau vivant. Fenton’s most widespread acclaim came in 1855, with photographs of the Crimean War, a conflict in which British, French, Sardinian, and Turkish troops battled Russia’s attempt to expand its influence into European territory of the Ottoman empire. Fenton was commissioned by the Manchester publisher Thomas Agnew & Sons to travel to the Crimea and document the war, and his mission was encouraged by the government, which hoped that his photographs would reassure a worried public. Fenton’s extensive documentation of the war—the first such use of photography—included pictures of the port of Balaklava, the camps, the terrain of battle, and portraits of officers, soldiers, and support staff of the various allied armies. Perhaps inspired by the experience of traveling through Constantinople en route to Balaklava, or perhaps simply sharing the mid-nineteenth-century vogue for all things exotic, Fenton produced a theatrical suite of Orientalist compositions during the summer of 1858—costume pieces that strove for high art rather than documentation and that were, in a sense, an antidote to the harsh realities he had recorded in the Crimea. They owed as much to the paintings of Delacroix and Ingres as to Fenton’s own experience in the East. In 1862, after a final series of photographs—a remarkable group of lush still lifes—Fenton sold his equipment and negatives, resigned from the Royal Photographic Society, and returned to the bar. In the course of a single decade, Fenton had played a pivotal role—by advocacy and example—in demonstrating that photography could rival drawing and painting not only as a means of conveying information, but also as a medium of visual delight and powerful expression.Source: Metropolitan Museum of Art
Bruce Mozert
United States
1916 | † 2015
Robert Bruce Moser (November 24, 1916 – October 14, 2015), known as Bruce Mozert, was an American photographer. He was considered to be a pioneer of underwater photography and his images of Silver Springs, Florida, were widely circulated during the early and mid 20th century. Mozert was born in Newark, Ohio, to Fred and Jessie Moser. He was the youngest of three children and the only son. The family moved to a farm in Scranton, Pennsylvania, while he was still young, where his father became the superintendent of the Scranton Stove Works. He graduated high school and took a job as a truck driver that brought coal to New Jersey, but quickly decided he was "too sensitive to be a truck driver" and moved to New York City to live with his sister, the well-known model and pin-up artist Zoë Mozert. Through Zoë, Bruce met Victor de Palma, a lead photographer for Life magazine, who hired him as a film developer and helped him into the field. He joined the Freelance Photographers Guild and worked for Pic. In 1938, while he was on an assignment to photograph women's shoes in Miami, Florida, Mozert heard about the filming of one of Johnny Weissmuller's Tarzan movies in Silver Springs. He traveled to meet the cast and ended up staying in Ocala, becoming the official photographer of Silver Springs for the next 45 years. He served in the U.S. Army Air Forces during part of World War II and there learned aerial photography. Mozert took advantage of the extremely clear water of Silver Springs by taking underwater photographs with specially constructed waterproof camera housings. He built his first such housing in the early 1940s. The novelty and clarity of his underwater photographs were major advertisements for Silver Springs and the distribution of the photos over wire services helped the attraction bring in visitors from 1940 to 1970. Most of his photographs feature submerged women doing ordinary tasks that would be done on land, such as cooking, reading newspapers and mowing lawns. Most of the women were actually employees of Silver Springs and one of his most frequently shot models, Ginger Stanley, was an underwater stunt double for Creature from the Black Lagoon. Physical tricks were often used to make the underwater scenes appear more realistic. He also took underwater movie stills for the many productions filmed in Silver Springs. Above the water, he took pictures of visitors going on glass bottom boat tours, developed the film while they were on the tour, and then had the photos ready to sell to visitors when they returned. Mozert spent his last years working out of his studio in Ocala, Florida, where he digitized film. His pictures have been featured in publications such as Huffington Post, National Geographic, Life, Look, Pic and Smithsonian Magazine. Mozert died at his home in Ocala on October 14, 2015 at the age of 98. Source: Wikipedia
Myriam Boulos
Lebanon
1992
I was born in 1992 in Lebanon, right after the end of the war, in a fragmented country that had to reinvent itself. At the age of 16 I started to get closer to Beirut and used my camera to question the city, its people, and my place among them. I graduated with a master degree in photography from the Academie Libanaise des Beaux Arts in 2015. Today I use photography to explore, defy and resist society. It is my way of constantly reinventing myself in the body and the city I live in. Statement The revolution started in Lebanon on the 17th of October 2019. Since then everything has been emotionally and physically draining and confusing but also beautiful, sad and awakening. It all feels as if we were coming out of an abusive relationship and to finally say: No, this is not normal. When the revolution started in Lebanon, it was the most natural thing for me to take my camera and go to the streets. Photography has always been my way of participating to life as it is today my way of taking part in the revolution. In the ongoing socio-political context it felt to me like there was no choice: the subject of my photography imposed itself on me. It was more a question of need and necessity than a question of desire. The slow documentary that normally constitutes my approach was ever so naturally replaced by something else something new, and within the revolution I let myself carry by the big wave coming towards me, big wave much bigger than me. My project is about documenting the different facettes of the Lebanese revolution from a local point of view. My approach is characterized by the direct flash I use in this project but also in others. This potentially comes from my need to make things real. The direct flash also helps me work on textures, bodies and skins. In the context of the revolution, the proximity between the bodies says a lot about the situation. It is the first time that we claim our public spaces, our streets, our country. It is the first time that different social classes mix together in the streets. In our streets. In parallel to the photographic documentation, I am also documenting the evolution of my emotions during the revolution. It is sort of a diary that accompanies the pictures. Example: Monday, 20 Jan Beirut, Lebanon Tonight in the teargas I took all my pictures with eyes closed. They say the moment of a picture is a black out. I wonder if I don't look at these emotions, will they disappear?
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry