Alberto Maretti was born in 1983 in Varese and in 2009 he started working as freelance photographer. He improved his skills by attending masters in visual communication and photojournalism at the John Kaverdash Academy in Milan and studied darkroom technique and digital photographic post-production. He also attended the War Reporting Training Camp, a specialized training for reporters working in crisis areas. Since then, he has been co-operating with several international magazines and newspapers, doing reportages focused on social and humanitarian issues. He works mainly abroad on reportage stories, long-term projects and breaking news.
Alberto Maretti

War on drugs in the Philippines

Since the end of June 2016, President Rodrigo Duterte has started a war on drugs, involving all the parties from consumers to dealers. Since then, more than 12,000 filipinos have been killed by the Police and self-proclaimed groups of vigilantes, and the wave of killings shows no sign of subsiding. At night, armed squads of vigilantes go around targeting drug dealers and addicts, and the Police carries out anti-drugs operations. Many of the victims of summary killings by vigilantes and Police appear to have been innocent by any definition, and none have been proved guilty in a court of law. In addition to the raids, the Police carries out many mass arrests. Moreover, for fear of being executed, many people turn themselves in to the Police and rehab centers, causing severe overcrowding.
I was born in Palermo in 1976. Since I was a child I have shown my inclination for Arts involving drawing, painting, music, and recently even photography. I still remember that, before I could write, I used to draw Mickey Mouse and Donald Duck copying from the comics. Growing up, I observed my father, a painter by profession, and I learnt tempera and watercolor. When I was 14, for the first time in my life I held a guitar, my grandfather’s one, and, since then, it was all about music and guitar. So, I attended classical guitar and composition at the conservatory. Four years later, as a graduation present, I received my very first camera: an Olympus OM10 that for many years has recorded all my memories! In 2003 a hand injury obliged me to completely give up my music and it was all thanks to my creativity that I started conceiving photography as I had never done before: a form of language, of artistic expression. Thus, I looked at the world with new eyes and I studied from the biggest master photographers: from Bresson to Koudelka, from Webb to Robert Frank. Later, courses and workshops held by international photographers and photojournalists let me improve the technique and the language as well. Actually, I prefer Photography that allow me to recount something and it is for this reason that I love walking the streets and waiting for a story to show itself to me. As Charles Harbutt says “I don’t take pictures; pictures take me”; so, I just have to make sure my camera is loaded with film, and be ready.
Alessandro Ingoglia

L'anima dei pupi/The puppets' soul

L’anima dei pupi (The puppets’ soul) is a photographic project that digs deep on an ancient art that has lasted for about two centuries. An art passed down from father to son. L’anima dei pupi (The puppets’ soul) is a view into the Sicilian city of Palermo and into one of its most ancient traditions: how Salvatore Bumbello’s capable hands give a Sicilian puppet life. Salvatore learnt this work when he was just a child: at first like it was a game, and then he started helping his father Luciano. Unfortunately, that was the time when he became an orphan; so, at 17, he took over his family business. Salvatore can give a soul to each puppet he creates, in other words he gives them life. Like each puppet was his own kid, Salvatore looks after every detail of his puppet: from the creation process to the performance on the stage. In literature he would be a modern Geppetto and even the fairy godmother and the Jiminy Cricket. Salvatore is the youngest craftsman in Palermo and he also owns the “Opera dei pupi Briglia d’oro” company that recounts and stages the adventures of Charlemagne’s knights. Salvatore crafts new characters that perform on the stage his original tales. As is tradition, Salvatore involves his sons and some grandsons to let them continue and develop their family tradition.
Alfredo Bosco is a freelance photographer and contributor to Luz Photo Agency in Milan. Social issues and geopolitical crises are the main focus of his work. In 2010 he reported on Haiti’s earthquake and the cholera outbreak that fol- lowed for the NGO Francesca Rava-NPH Italia. In 2015 he covered criminality and everyday life in Caracas. In 2016 Kyrgyzstan’s heroin racket and in 2017 the Nuit Debout and Justice pour Theo demonstrations in Paris. From 2011 to 2014 he was contributor to SGP photo agency in Milan working for commercial clients and major fashion labels. Since 2014 he has been working on a long-term project on the civil war in Donbass, Eastern Ukraine. He was awarded the 2011 Fnac TPW Mention for his reportage on Tashkent’s local youth under Karimov’s dictatorship. In 2015 he was selected by Lensculture as one of the world's top 50 emerging talents. In 2018 his project Donbass: No Man's Land was selected at the Lumix Festival of Young Photojournalism. Selected at the 25th Joop Swart Masterclass of the World Press Photo. He was co-founder and editor of MiCiAp (MilanoCittàAperta), an online journal of urban photography. His work has appeared in Italian, French and British publications.
Alfredo Bosco

Forgotten Guerrero

Since its beginning in the early 2000s, the Mexican drug war has seen the state of Guerrero play a most important role. This reportage looks at the region’s current social and political situation. Violence is relentlessly on the rise amongst cartels and self-claimed defence groups and local feuds force the population to abandon their towns surrendering them to a domestic conflict. It’s easy to die in Guerrero, and even easier to disappear. And as the desaparecidos abruptly become ghosts to the families who live in the constant uncertainty of what has become of them, the empty houses and the deserted villages quickly turn into ghost towns. Hundreds of families enervated and tired of waiting for official action, have desperately started searching on their own for their loved ones in the woods.
Anastasia Evsinekina is a documentary photographer from Moscow, Russia. Anastasia graduated School of Modern Photography Docdocdoc in Saint Petersburg in 2018. She published on Lenta.ru, Spiegel Online, Bird in Flight, batenka.ru. Finalist of Vilnius Photo Circle, PhotogrVphy Grant, Julia Margaret Cameron Award for Women Photographers. Anastasia is interested in the relations of a person and the state, surrounds, and nature.
Anastasia Evsinekina

Nothing ventured nothing gained

Ruslan and Lena are striptease dancers in one of the nightclubs in Smolensk. They have been dancing for about 11 years, 8 of which they are married. Their working day starts at 10 a.m. and ends at 3 a.m. After a shift, they come home, have dinner, make a meal for the next day to take away. Often happens that they should be at work in the fitness-club by 10 a.m. As fitness instructors they run personal training sessions, in their spare moments, they are engaged in bodybuilding activities. Owing to an enormous schedule they can have a rest only being on vacation. ”One should nimble as a squirrel to earn one's daily bread!” - says Lena. They are planning to have a baby in the future. Russian society expresses an ambiguous attitude toward stripping. People react in different ways - from admiring the courage to propositioning and insulting. Lena's parents aren't aware of this part of her life
Arne Piepke (1991) grew up a small village in Germany surrounded by hills and trees. His attitude towards photography was shaped by an urge to break out and explore. He deals with social issues and the people’s connection to history and their surroundings. In 2017 he was selected for the NikonNOOR workshop in Berlin, won the VONOVIA Newcomer Award and was shortlisted for several awards. In 2018 he won the PDNedu Student Contest in the category Photojournalism, was am among the winners of PDN Emerging Photographer Spring Issue and finalist of the W. Eugene Smith Student Grant. In May 2018 he and four other documentary photographers founded “DOCKS”, a collective for documentary photography with humanistic values. They self-published a newspaper in an edition of 5000. Arne studies photography at University of Applied Sciences and Arts in Dortmund, Germany.
Arne Piepke


In Abkhazia everything is divided into before and after the war. The small region at the Black Sea, bordering with Russia, spent most of its past as a part of Georgia. Once ruled by the Soviet Union, the region sought independence from Georgia after the collapse of the USSR. A conflict arose which escalated in a war in 1992 and ended with an ethnical cleansing of Georgians in Abkhazia one year later. Even though Abkhazian separatists, armed and supported by Russia, defeated the Georgian troops, the region lost more than half of its population, with thousands dead and more than 200,000 displaced. This former paradise was laid in ruins and their independence remained unnoticed for years. Only in 2008, after the Russo-Georgian War, did Russia and a few other states recognize their independence. The vast majority of the international community sees Abkhazia as a Russian-occupied territory.
Hi, I am Ben Maier a people and documentary photographer. Currently based in The Hague, The Netherlands. I’m searching for stories that feed my creativity. As an explorer of cultures and places I am always curious about the world and the unseen. I believe in photographs which tell a powerful story themselves and which are good parts of a series. I learned about cultures and diversity, experienced true hospitality and made friendships which matter. I want to use the power of images I create to show the beauty and diversity of our planet – it’s important for me to see humans peacefully united.
Ben Maier

Akbar dare miad

In Iran nights are quiet. Bars or nightclubs don’t exist, dancing is forbidden. In Isfahan, a city in the center of the country surrounded by desert, people fight back. Every night people of all age and gender gather under the Khaju Bridge and sing traditional songs, sometimes they dance. It’s a dangerous action, policemen from the station nearby are attentive. They try to stop it, go for patrols often spreading unease and fear. People respect the police, they are harsh and strict. Rumors go around that some people got arrested because of singing. The policemen take initiators and force them to stop - in an aggressive manner. The political system in Iran is powerful and is stamped by restrictions of freedom. In reckless moments people forget about it, they feel free - hidden under the bridge they rebel and dance. Until they hear the codeword for the police coming - ‚Akbar dare miad!'.
2004: VG Bild Stipendium für "1000 Bhopals" 2005: Berufung in die DFA (Deutsche Fotografische Akademie) 2007: World Press Photo 3. Preis Sport Feature Series (Fussball-Fans bei der WM 2006) 2010: VG Bild Stipendium für das Foto-Project "Hard Work" 2011: Hasselblad Award Semi-Finalist Shortlisted für DZ Bank Preis 2012: Deutscher Preis für Wissenschaftsfotografie 1. Preis Reportage 2015: VG Bild Stipendium für da Fotoprojekt "Auroville I Das letzte Utopia" 2017: Kolga Tbilisi Photo: 1. Preis Conceptual Photography "The Last Utopia" Robert-Bosch Stiftung: Grenzgänger Stipendium 2019: Rückblende 2018, Preis für politische Fotografie: 1. Preis Serie "Der Kampf um den Forst"
David Klammer

Fight for Forest

Since 2012 the Hambach Forest in Germany is occupied by climate activists, who protect the forest from clearing by living in treehouses, that are build upto 28 meters high. Next to the Hambach Forest is a big browncoal open mine, run by RWE Corp., that is digging away the forest, but now had to stop due to the occupation and a judgement to stop the clearing. Regulary the treehouses get evicted and destroyed, but the activists keep coming back. I have started this longterm reportage in September 2018 shortly before the grand scale eviction of activists and destruction of the treehouses and continue working on it, showing the work and live of the climate activists in this symbol and hotspot of civil disobidience.
Davide was born in Messina in 1991. He is a photojournalist based in Milan. He graduated with honors in 2016 at IED (Istituto Europeo di Design) at the school of visual arts in photography. Since the end of 2016, he focused on the theme of globalization, looking for stories that would give voice to the small realities crushed by that indefatigable desire for equality. This led to the realization of "Never-never land" and "Across the river's flow", the first chapters of the series, which between Palestine, Germany and Romania, tells the story of Palestinians and Saxons of Transylvania. Davide, inserted in 2014 among the 10 best under 25 italian talents, has been published by National Geographic and he has won national and international awards for his works.
Davide Bertuccio

Never-Never land

Wadi Foukin is a Palestinian village in the West Bank near the Green Line. Since 1985 it is surrounded by a city, Tzur Hadasa, and a settlement, Beitar Illit, both belonging to the Israelis. In a few years Wadi Foukin could really disappear, but it is like non-existent from now, because the Israeli government has deleted it from maps and removed any road information that may indicate it. ”Never-never land” talks about the history of this small village of a thousand people, and also about the well-known problem of the Palestinian workers in Israeli settlements. It is in this corner of the West Bank which takes place one of the greatest paradoxes of the Israeli settlements: more and more people of Wadi Foukin every day, for the subsistence of their families, work in the building sites where they build Israeli houses that gradually are wiping their homeland from the face of the earth.