Maria Dupovkina

Maria Dupovkina's photographic odyssey into understanding the self, or her self, is this emotional typology of the body and mind. Few of us would posit ourselves in this way but Dupovkina applies herself with an honesty, an openess and an empathy which is remarkable. She is undeniably a beautiful woman who has the character of appearing vulnerable and strong simultaneously and Dupovkina's self portraits approach the question of sexual identity and gender in a succinct and clear narrative. Boy. The part of me that I’m trying to live with, which is very difficult to understand. I’m just at the beginning. I’m not a tomboy. I’m not a fellow, but I’m not entirely a grown-up man. Son. I am a singl

Mark Ruwedel

Mark Ruwedel is one of the four photographers nominated for this years' Deutsche Borse Photography Foundation Prize. He was born in 1955 and spent a good part of his time photographing in North America exploring how geological, historical and political events leave their marks on the landscape. Merging documentary and conceptual art practices his work concentrates on typologies. This is very much evidenced in his book, Message From the Exterior, published by Mack Books in 2016. I can relate to his quirky and transient methodology in setting out on a new body of work. His projects, "have developed out of being out and looking at things, thinking I'm interested in one thing and finding a clue

Jacob Holdt

Jacob Holdt travelled across the United States between 1970-1975 chronicling an America that seemed to be falling apart at the seams. His images are a searing indictment of fear and inequality. His method was total immersion with his subject, diaristic, unflinching photographic realism and one of the most harrowing bodies of image and text in modern photography. In Alabama, this poor old woman of 87 asked me to drive her to Pheonix Arizona. She wanted to go there to die. I helped her to board up the winows in her dilapidated shack outside Tuskegee. She knew she would never return, but did not want local blacks to move into it. She sat the whole way out there with a pistol in her hand, scared

Ed van der Elsken

His imagery provides quotidian, intimate and autobiographic perspectives on the European zeitgeist spanning the period of the Second World War into the nineteen-seventies in the realms of love, sex, art, jazz, and alternative culture. He described his camera as 'infatuated', and said: "I'm not a journalist, an objective reporter, I'm a man with likes and dislikes". His groundbreaking 'photo-novel', Love on the Left Bank, appeared in 1956 it was an instant success. In the book he tells the story of his ramblings in Paris, where he lived for a number of years. He had pasted up the dummy of the book by hand, devising a tragic love story from the gritty photographs he had taken in Paris of the d