João Henriques


There is always a subjective aspect in landscape, something in the picture that tells us as much about what is in front of the camera, and who is behind it.  — Robert Adams

The inspiration to make these pictures came through this phrase from Robert Adams, a photographer whose pictures were part of the New Topographics exhibition of the 1970’s, in which some paradigms of landscape photography were questioned. The phrase also sums up beautifully the paradox of subjectivity and objectivity in photography.

These images depict the city where I live, Torres Vedras, one of them illustrating specific characteristic of this territory, in its planning, use, morphology, the other having been made immediately after the first, at its opposed plane of 180 degrees. From the second picture comes an aleatory, non-thought, non-determined photography, the pair granting an unexpected association and contrast between the identity of the place, as well as referencing ontological aspects of photography linked to objectivity, subjectivity, and canons of aesthetic reception of the landscape.

— João Henriques, Torres Vedras, Portugal

Luís Aniceto


Margem Sul is a project about my hometown territory on the south side of the Tagus river. Unlike Lisbon, where its political and economic prominence is also built upon its symbolic space, the territories on the south side lack this sovereign, historical and self-referential value in their urbanity. Suburbs were the most used adjective that pointed to a sub-value of its patrimonial reference.

It was in this set of urban places, a-historical and outside the spaces of power and desire, in which the processes of mutation and decomposition generated in the landscape a strange hybridism, that I decided to focus my work. Spaces in which anonymous buildings reign by the vulgar omnipresence of its facades, where cars, victims of accident and abandonment pose mute as useless statuary, but also places that have not yet been and are no longer, that seem suspended, unfinished and therefore renewedly liberating.

— Luís Aniceto, Almada, Portugal

Yiannis Trifonopoulos

Before Your Very Eyes is an idiom that means right in front of you, where you can see something very clearly.

This series attempts to bring out everyday details, such as small street corners, trivial things and various paradoxes, which, although they are in front of our eyes, we do not see.

— Yiannis Trifonopoulos, Kavala, Greece

Stefan Hagen

One Thousand Steps

I record. I record my movements in nature; I record nature.

The photographic process has the unique ability to collect light. I use this with images exposed over an extended period of time: time determined by the space, by my experience in that space. 

While I often focus on the specifics of a place, exploring the momentous light and the shapes of a locale, the series One Thousand Steps focuses on my movement in a place. 

These images are created by exposing a negative while walking 1000 steps in a straight line, focused on one point, mostly the rising or setting sun, our primary source of light. 

While the locale of these walks is defining the colors and approximate shapes in the image, the image becomes also a direct imprint of my movement, the movement of the camera, over the roughly 400 yards I am walking.

— Stefan Hagen, New York City