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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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

Heinrich Kühn
Austria / Germany
1866 | † 1944
Carl Christian Heinrich Kühn (25 February 1866 in Dresden – 14 September 1944 in Birgitz) was an Austrian–German photographer and photography pioneer. Heinrich Kühn is regarded as one of the forefathers of fine art photography, which helped photography establish itself as an art on its own. His photographs closely resemble impressionist paintings, with their frequent use of soft lighting and focus. Kühn was part of the pictorialist photographic movement. Kühn mainly used the gum bichromate technique, applied in several layers, and thus allowing for previously unseen color tonalities. In 1911, Kühn invented the Gummigravüre technique, a combination of photogravure and Gum bichromate. In 1915 he developed the Leimdruck technique, which uses Animal glue as Colloid and produces pictures similar to gum prints. He also invented the Syngraphie, a forgotten technique that uses two negatives of different sensitivity to obtain a larger tonal spectrum. Kühn used Autochrome from its appearance in 1907; his Autochromes have been called "ethereal dreams of childhood, full of vaulted sunny skies and giddy perspectives, as gloriously cathartic as they are emotionally charged".Source: Wikipedia Heinrich Kühn, originally Carl Christian Heinrich Kühn was born on February 25th, 1866 in Dresden, Germany. Kühn was one of the central figures of international art photography at the beginning of the twentieth century. His lifelong goal was to establish the photographic image as a medium for rendering an artistic vision as precisely and creatively as in painting and drawing. Along with Alfred Stieglitz and other friends, Kühn made the stylized photographic an element of the gesamtkunstwerk, which translates to "ideal work of art", which the Secessionists aspired to create. The most important tool for this was the gum bichromate process that he had perfected and the free choice of paper and pigment, which made the picture look more like a print than a conventional photograph. This allowed him to deliberately alter the brightness contrasts to fit his notion of the image and dissolve its sharpness. Too much sharpness was considered "non-artistic" because it veered away from painting, thus eliminating it where he saw fit. Kühn reduced the romantic cosmos of "Pictorialism" to the point of abstraction, thus exhibiting a sense of timelessness and balance. Kühn's work is represented in many collections, including Eastman House Rochester (New York), Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Museum of Fine Arts (Boston), Kupferstich-Kabinett (Dresden), Hanmburgische Lichtbildstelle (Hamburg), Museum of Fine Arts (Houston), and Musée d'Orsay (Paris).Source: Peter Fetterman Gallery
Josephine Sacabo
United States
1944
Artist Statement: "I believe in Art as a means of transcendence and connection. My images are simply what I’ve made from what I have been given. I hope they have done justice to their sources and that they will, for a moment, ‘stay the shadows of contentment too short lived.’” Sacabo divides her time between New Orleans and Mexico. Both places inform her work, resulting in imagery that is as dreamlike, surreal, and romantic as the places that she calls home. Born in Laredo, Texas, in 1944, she was educated at Bard College in New York. Prior to coming to New Orleans, Sacabo lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition and influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style, using poetry as the genesis for her work. Her many portfolios are visual manifestations of the written word, and she lists poets as her most important influences, including Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Her images transfer the viewer into a world of constructed beauty. During her 36 year career her work has been featured in over 40 gallery and museum exhibitions in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothèque Nationale, Paris, France. Source: josephinesacabo.com
David Pace
United States
1951 | † 2020
David Pace is a Bay Area photographer and curator. He received his MFA from San Jose State University in 1991. He has taught photography at San Jose State University, San Francisco State University and Santa Clara University, where he served as Resident Director of SCU's study abroad program in West Africa from 2009 - 2013. Pace photographed in the small sub-Saharan country of Burkina Faso annually from 2007-2016, documenting daily life in Bereba, a remote village without electricity or running water. His work has been exhibited internationally. His African photographs of the Karaba Brick Quarry are featured in the 2019 Venice Biennale in a group show entitled "Personal Structures" organized by the European Cultural Center. His book Images In Transition, a collaboration with gallerist Stephen Wirtz, was published in the spring of 2019 by Schilt Publishing. "Through my photography I want to express to a broad audience what it's like to live in West Africa. The Western media typically shows only the negative side of life in Africa, highlighting war, famine, genocide, and illness. This perspective is newsworthy but it is incomplete and misleading. It fails to capture the richness and complexity of life in small villages where a large percentage of West Africans live and work. Most live simple, meaningful lives. My photography in the remote village of Bereba and the surrounding region portrays a story of life in the community that is largely positive. My work projects a view that may be at odds with the more common perspective, but is no less accurate or realistic. I am committed to communicating the realities of life in West Africa to challenge the negativity that too frequently pervades the images we see." David Pace About Sur La Route
Elisabeth Hase
Germany
1905 | † 1991
Elisabeth Hase (December 16, 1905 – October 9, 1991) was a German commercial and documentary photographer active in Frankfurt from 1932 until her death in 1991, at the age of 85 Hase was born in Döhlen bei Leipzig, Germany. She studied typography and commercial art from 1924 to 1929 at the School of Applied Arts, and later at the Städelschule, under, among other teachers, Paul Renner and Willi Baumeister. Hase was active as a photographer during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. She was able to avoid government oversight of her work by establishing her own photographic studio in 1933. Hase's work included surreal photography, such as close-up photographs of dolls. She received several awards, several for paper designs and collages. During a two-year collaboration in the studio of Paul Wolff [de] and Alfred Tritschler [de], Hase took architectural photographs in New Objectivity style for the magazine Das Neue Frankfurt (The New Frankfurt) and documentary photographs of modern housing projects, including those of Ferdinand Kramer. In 1932, Hase started her own business. It focused on timeless designs like still life, structures, plants, dolls, people, especially self-portraits. Often she used herself as a model in her photographic “picture stories.” Cooperation with agencies like Holland Press Service and the Agency Schostal[2] enabled her to publish her photographs internationally. Despite the bombing of Frankfurt in 1944 by the Allies, Hare's photographic archive survived the war without major damage. Many of those works are now part of the collections held by the Folkwang Museum in Essen, Germany, in the Albertina (Vienna) in Vienna, and in the Walter Gropius estate in the Bauhaus Archive in Berlin, as well as in private collections in Germany and abroad. Despite loss of her cameras and other technical equipment in the chaos of war, Hase was able to resume taking photographs in 1946 by the help of emigre friends who provided her with film and cameras to use. Among others subjects Hase documented was the reconstruction of St. Paul's Church in Frankfurt. From 1949, her work focused on advertising, consisting mostly of plant portraits. Hase died at the age of 85 in 1991 in Frankfurt am Main. Source: Wikipedia This new discovery is a rich body of work by a female artist who was photographing during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. Hase's photographic compositions are comparable to a number of her avant-garde contemporaries such as Florence Henri, Ilse Bing, and Germain Krull. Elisabeth Hase (1905-1991) was born in Germany and began her artistic studies in 1924 at the Art Academy in Frankfurt. During World War II Hase was able to avoid the politicization of her work by retreating to her studio. This however would not prevent her work from being wholly untouched by the war. During the air raid on Frankurt in 1944 her cameras and other equipment were lost however, quite remarkably, her archives of glass and film negatives survived. Most intriguing are Hase's self-portraits which experiment with identity and perceived reality. In one self-portrait she has photographed herself in the reflection of a silver sphere, she and the room are warped on the convex surface of the globe. In another image she is sprawled over a staircase as if fallen, with shoes and purse strewn likewise over the stairs. This practice of role-playing and adopting different personas is seen throughout Hase's portraiture. Hase's work has been shown in museums across Germany including; the Folkwang Museum, Essen; the Historical Museum, Frankfurt; and the Museum of Photography, Braunschweig. Hase's work was exhibited in the show "Who is Afraid of Women Photographers?" at the Musée d'Orsay, Paris, France. Her work in found in prominent museum collections internationally, including The Metropolitan Museum of Art, The National Gallery, the Museum of Modern Art, The Nelson-Atkins Museum of Art, Ackland Art Museum, the Chrysler Museum of Art, Folkwang Museum in Essen, The Albertina Museum in Vienna and The Bauhaus Museum of Design in Berlin. Source: Robert Mann Gallery
Laura Pannack
United Kingdom
1985
Laura Pannack is a London-based, award-winning photographer. Renowned for her recognizable portraiture and social documentary artwork, she often seeks to explore the complex relationship between subject and photographer. Her work heavily focuses on the youth. She was educated at the University of Brighton, Central Saint Martins College of Art and LCP. Pannack's work has been extensively exhibited throughout the UK and abroad, including at The National Portrait Gallery, Somerset House, the Royal Festival Hall and the Houses of Parliament. Driven by research-led, self-initiated projects, Pannack seeks to fully understand the lives of those she captures on film in order to portray them as truthfully as possible. Perceiving “time, trust and understanding” to be the key elements to achieving this, many of her projects develop over several years, helping her achieve a genuine connection between herself and her sitter and allowing her to capture the intimacy, shared ideas and shared experiences of this relationship. Pannack chooses to shoot with analogue film on her personal projects. By using traditional methods of working from negatives, as well as shooting with Polaroid, she finds beauty in the mistakes that come from working with unpredictable material. Her artwork has received much acclaim and won numerous awards, among which are the John Kobal Award , Vic Odden prize,World Photo Press Awards and the HSBC Prix de la Photographie prize In addition to her own practice, Pannack lectures, critiques and teaches at universities, workshops and festivals around the world, and in 2015, judged the portrait category in World Photo Press Awards in Amsterdam. Pannack has also been widely published, both commercially and as a photographic artist, with work appearing in The British Journal of Photography, Hotshoe International, TIME, The Guardian Weekend, The Telegraph, The Sunday Times, Creative Review. Her monograph 'Against the dying of the light' was published by Acts de Suds in 2016 and YOUTH Vol 1 was released in 2018 by Polite company
Lúa Ribeira
Spain
1986
Lúa Ribeira (born 1986) is a Galician photographer, based in Bristol in the UK. She is a Nominee member of Magnum Photos and was a joint winner of the Jerwood/Photoworks Award in 2017. Her series Noises is about femininity and British dancehall culture. She studied documentary photography at the University of Wales, Newport, graduating in 2016. Ribeira's series Noises, about femininity and Jamaican dancehall culture in the UK, was published as Noises in the Blood in 2017.Source: Wikipedia Lúa Ribeira’s practice is characterized by its collaborative nature, extensive research and an immersive approach to her subject matter. She is interested in using the photographic medium as a means to create encounters that establish relationships and question structural separations between people. Ribeira was born in 1986, in Galicia, northern Spain. She graduated in Graphic Design at BAU School of Design, Barcelona in 2011, and earned a first-class honours in a BA in Documentary Photography from the University of South Wales in 2016. Since graduating, she has continued her academic engagement as a guest lecturer at various universities, including the University of Westminster, University of the West of England, and Complutense University of Madrid. Ribeira’s work has received several awards and honors, including the Firecracker Grant for Women in Photography, and the Jerwood/Photoworks award. Her work has been published in book form by Fishbar, London in 2017, features in the publication Firecrackers: Female Photographer Now published by Thames and Hudson in 2017, in and Raw View Magazine‘s, “Women looking at Women” in 2016. Her work has been exhibited internationally in both solo and group shows in venues including Impressions Gallery, Bradford, Ffotogallery Cardiff, Belfast Exposed gallery, Beijing International Photography Biennale, and many more. Other publications Ribeira’s work has been featured in include The British Journal of Photography, Paper Journal, Refinery 21, AnOther, and Tate magazine. Selected commercial clients include Chanel, Carla Lopez handbags, Birmingham Botanical Gardens, and Wire Magazine. She joined Magnum photos as a nominee in 2018.Source: Magnum Photos Since graduating from the documentary photography course at the University of South Wales last year, Lúa Ribeira has gone from strength to strength. In addition to the Firecracker Grant, which she was awarded in 2015 while still a student, her work was recently selected by Susan Meiselas to appear in Raw View magazine’s Women Looking at Women issue, which the Magnum photographer guest edited. She is also making a name for herself commercially, with commissions for the likes of handbag designer Carla Lopez and with editorial clients such as Wired. Her images have been shown at international festivals, including Photo España in 2014 and Gazebook Festival in 2015, and she has also been awarded a Jerwood Photoworks Grant for future projects in 2018. Thus far, Ribeira is perhaps best known for Noises in the Blood, an ongoing investigation into Jamaican dancehall culture, shown at London’s Fishbar Gallery earlier this year and published by its photobook wing. The series stems from the photographer’s love of the musical genre but also acknowledges her discomfort with its explicit, sexual lyrics. “That feeling bothered me,” says Ribeira. “I did not fully understand it.”Source: British Journal of Photography
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