The market takes place at the end of his street every Friday morning. It is small, with no more than seven farmers, all of whom are local, selling produce grown on their farms just a few kilometers from town.
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Marta Garcia
Roberto Pazzi’s Smithsonian Readers’ Choice Awards Success Redefines Documentary Photography
Apr 23, 2026
Roberto Pazzi Becomes the First to Win Two Smithsonian Readers’ Choice Awards in Three Years An unprecedented double recognition marking a defining moment in contemporary documentary photography.
My professional career was as a psychotherapist. As such, I spent many hours with a diverse population of adults, helping them navigate the issues of their lives. I have an abiding curiosity about, and regard for, the fundamental concerns of the individual and the ways people cope with the tasks of daily living, both in public spaces and alone.
“Creatures from Nothingness”. Technique: digital painting and drawing over promptography (according to Boris Eldagsen). AI procedure. I am interested in the sinuous lines we find in nature: eroded pebbles, pieces of smooth-skinned fruit or vegetables—recalling here Edward Weston.
Nearly 4,000 kilometers across China’s vast territory, exploring—through the language of photography—how much this country still has to reveal to the Western world. In 1975, Wilhelm Meister departed from Glückstadt, in the far north of Germany, crossing the country to reach its southernmost edge, near the imposing Zugspitze.
This series was developed over time, perhaps without a clear beginning. He does not remember exactly when he started paying attention to things that almost disappeared.
Andrei P’s work operates at the intersection of analogue memory and computational image-making. Although the images are generated through AI systems, their internal logic is rooted in the sensibilities of physical photography: black-and-white tonal depth, directional light, sculptural shadow, and the quiet tension between presence and absence.
In January 2026, he accompanied a humanitarian medical mission to Umunohu, Imo State, Nigeria, working as a documentary photographer. The mission was organized by the Emeakaroha Foundation, which has established both the regional hospital and the nearby school as part of its long-term commitment to local infrastructure and access to care and education.
ONE DAY / ONE FRAME is a long-term photographic practice structured around a simple and uncompromising rule: one image per day. The project began on the first night of the year and developed not as a way of recording events, but as a practice of recognizing when a place becomes photographable.
Narva is a hybrid of identities, a record of upheaval and decay. During the Soviet era, Narva was a major industrial city with a predominantly Russian-speaking population. The city shares a direct border with Russia, marked only by a river.
The Uncanny Fashion series challenges brand-led consumerism by advocating for local, sustainable modes of consumption, while examining the intersection between art and commerce within contemporary photography.
The year was 2009, and the world was in the depths of the Great Recession. Photography assignments had almost disappeared. As a result, he had a great deal of time on his hands and began looking for a project that would keep him occupied until the economy recovered. After reading months of Anchorage Daily News obituaries, he began to notice the lack of photographs for deceased homeless individuals. Their death notices included only name, place...
“In Lieu of Flowers” is her ongoing series of botanical photographs, especially dedicated to the son she lost in the summer of 2020. Because he died during COVID, there was no funeral, nowhere to display flowers—only his cremains returned in a box.
In this collection of works, she looks at a flower as a shape-shifter — a symbol that carries different meanings depending on light, context, and perception. Flowers appear as emblems of transience, carriers of memory, and witnesses to human presence. They exist at the edge of life and decay, stillness and motion, fragility and resilience. Her work is rooted in the emotional resonance of objects and the traces of human experience they hold. Still life,...
This collection, “Fragments of Life”, brings together images from his third visit to Hong Kong, a city that appears to be the same vertical, hyper-dense labyrinth on the surface, yet feels very different through the lens. His first two trips were separated by roughly seven years, each time traveling as a tourist with a wide-angle camera, eager to capture the city’s most obvious landmarks. This time, he returned with a singular photographic mission: to find...
The gray dawn heralded the rain that the fishermen had been waiting for. They say that the murkier the seawater becomes, enriched by sediments carried from the nearby river, the better it is for fishing. The tide had already begun to rise, slowly overtaking the sand with small waves that grew bolder and bolder.
The photographic project Group Living is a reflection on over-urbanization in China. The project questions the extreme trend of urban expansion by depicting a gregarious state of urbanization in major Chinese cities. Unlike Western developed countries, where urbanization has evolved over centuries
Her photographic practice is shaped by interests in history and biography and, from there, develops through her experiences, observations, and sense of spontaneity, curiosity, and intuition. Over the years, her work has focused on people and places, sometimes close and intimate and sometimes more distant, but always evolving from her personal journeys and quiet exploration.
In the space suspended between thought and its manifestation, ‘Printed Dreams’ take shape not as reflections of reality, but as architectures of the invisible. This is a study that explores the very nature of perception: what remains of us when the world fragments and light decides to break down into new emotional alphabets?
Settled between forests, fields, and lakes, this work unfolds from within a life in transition, where watching children grow becomes inseparable from observing the passing of time itself. Doubt and time operate not as obstacles but as essential tools, shaping a way of seeing that moves between silence and language, between what can be named and what resists articulation
Duality has always been at the center of my curiosity. Not in the obvious sense of opposites, but in the quiet tension between states of being—the moment something exists fully, and the moment it begins to transform.
The Fulani of West Africa are among the largest nomadic groups in the world. Traditionally, they moved with their herds across more than ten countries in West and Central Africa. In their society, cattle are central, shaping wealth, status, and way of life.
Diasporic Sights is the second volume in the London Street Chronicles series, an ongoing photographic exploration of everyday life in London. This chapter focuses on the presence and lived experiences of Black British communities within the city.
Executive Order: Images of 1970s Corporate America is a collection of 50 black-and-white silver gelatin photographs and the first of three monographs she has published with Daylight Books. It was launched in 2018, when it garnered significant attention.
Harajuku in Los Angeles: Portraits in Place is a long-term portrait series celebrating Harajuku-inspired individuals living in Southern California. Focusing on home, work, and play, the series examines the spatial dimensions of self-presentation.
In Chennai’s vibrant performance season, Indian classical dance offers the photographer a subject rich in movement, emotion, and tradition. Here, one reflects on the visual language of dance, the technical demands of photographing live performance, and the creative possibilities it offers beyond the stage.
Her photographic series Lost in Paradise, commissioned for Soho House Downtown Los Angeles, explores the visual language of cities where architecture communicates through neon signage, typography, colour, and layered urban surfaces.
A self-taught photographer, I work with a personal philosophy of fine art photography structured as an inverted pyramid of three strata. Resting on the bottom point is technical mastery — understanding light, equipment, and the mechanics of the camera.
The cult of Santa Muerte, or “Holy Death,” has evolved into one of Mexico’s most significant and fastest-growing folk religious movements, with millions of devotees. Though still officially rejected by the Catholic Church, Santa Muerte devotion has surged since the early 2000s, emerging from private household altars into highly visible public rituals.
The Beauty and the Bane investigates the fragility and transience of aesthetics, inviting the viewer to question what is conventionally perceived as beautiful. The images, originally conceived by the artist as commercial advertising shots, undergo a process of radical transformation that alters their chromatic qualities, surfaces, and textures through the use of oils, paints, plaster, and abrasive materials.
This project is rooted in a simple yet profound recognition: the relationship between humans and great apes extends far beyond genetic proximity. Chimpanzees, bonobos, gorillas, and orangutans share with humans not only more than 98 percent of their DNA, but also sensitivity, social intelligence, and a complex cultural understanding of the world.
What is the Limit? is an ongoing series of photoconstructions begun in 2021, in which the mouth, a fragment of the body stripped of biography, becomes the site of a fundamental question: what can a body endure?
Before this series existed, he was chasing the life he was told to want: a bigger title, a higher paycheck, a larger house. The kind of career that makes parents proud at dinner tables and impresses friends at parties. He worked hard, climbing the corporate ladder during the day and freelancing at night.
His pursuit of new landscapes to explore and photograph has been a constant and defining journey, one that has taken him across continents for more than thirty years. Throughout this time, he has been repeatedly drawn to places where the forces of nature feel most present and unrestrained.
To many people on the East and West Coasts, the central plains are dismissively labeled “flyover country.” However, the American heartland holds a deeper, more enduring story, one shaped by resilience, sacrifice, and a lasting connection between the land, the people, and the animals that sustain them.
Color is not something he simply sees—it is something he perceives. Vision may begin as a physiological process, a collaboration between the eye and the brain translating wavelengths of light into recognizable hues. His relationship with color extends far beyond optics.
Wonderland is a photographic exploration of New York City transformed by snowstorms, particularly in the stillness of night. What began as an attraction to snow evolved into an obsession with the intensity and unpredictability of the storms themselves.
Sierra Leone is undoubtedly the most fascinating and intense country he has ever visited. This nation, filled with complex layers, harbors a shadow where light rarely reaches. The work Money State takes viewers deep into Sierra Leone’s current situation, guiding them like a river into a world where ruthless nature, abundant riches, human destinies, and voodoo mysticism are inextricably intertwined.
In Passing is a photographic series about the quiet traces people leave behind in the landscape. Across the deserts, highways, and small towns of the American West, this ongoing project focuses on roadside memorials, temporary shrines, and personal offerings placed at sites where lives were lost.
Navigating in Traffic is a self-portrait series that reflects a personal journey of healing, resilience, and self-discovery. Using the metaphor of traffic, the project visualizes the emotional and psychological movement through life’s disruptions, obstacles, and transformations.
Japan, The Pathos of Things is the result of several months of travel across Japan in 2024 and 2025. In a period marked by global conflict and tension, the project emerged from a desire to search for a quieter and more reflective dimension of life.
Don’t Grow Up, Dress Up is a photo series about a woman stuck in a rut of routine who dreams of a little fun. Who wants to be a grown-up? Nobody, I tell you. Why has it become accepted thinking that taking on a career, family, or other responsibilities means it’s time to dismiss childish things? Playing and being an adult are not mutually exclusive.
The Last Guardians of the Forest Luciana Trappolino: The Baka and Their Disappearing World
Apr 3, 2026
In a clearing in the heart of the equatorial forest of Cameroon lives one of the last groups of Baka Pygmies, one of Africa's oldest peoples. Their organization is centered around the family or small communities, where important decisions are made collectively, eliminating the need for a specific leader, although the eldest member remains a key point of reference.
The Clastic Herbarium occupies a zone of friction between scientific taxonomy and the instability of the contemporary image. Far from the illustrated herbarium tradition—which seeks to fix, classify, and preserve—this body of photographs introduces a logic of fragmentation that destabilizes the documentary status of botanical representation.
Dhobis of Lucknow Behind the Threads of Chikankari by Ishita Yadav A Story of Work and Survival
Apr 2, 2026
Originating in Lucknow, Chikankari embroidery stands as the city’s signature craft and cultural hallmark. It has created a strong appeal in the Indian market. Apart from the labor of the artisans that goes into the making of Chikankari kurtas, there is a crucial step in its production carried out by the Dhobi community.
Functions Without Use by Loredana Sansavini Exploring Suspended Spaces in Contemporary Photography
Apr 2, 2026
Functions Without Use explores constructed spaces and ordinary places in which their intended function is suspended or inactive. The project highlights how everyday environments, designed for use, can exist independently of the actions or activities they were meant to host. The sequence opens with the closed shutter of a bar: frontal, essential, immediate. Here, something is expected to happen, yet nothing occurs. This threshold introduces the central theme of the project: suspended function and ordinary...
This photoshoot explores human nature through a mystical, storytelling lens. Crown of Time tells the story of a king who seized his crown through war, setting off a chain of pain and destiny. The project is built as a visual narrative in which each image functions as a fragment of a larger story.
This series explores the quiet presence of the Baltic Sea and the subtle emotional landscape shaped by northern light. Living in Österlen, on the southern coast of Sweden, the artist is surrounded by vast horizons, wind, and an ever changing sky.