Ana Pinto (b. 1982) is a Portuguese photographer currently developing her work in China. She studied Audiovisual Communication at the Polytechnic Institute of Porto. The themes which inspire her current practice are nostalgia, the future, and technological progress. She utilizes photography to depict scenes where technologies and artificiality seem to embody and redefine our experience. Alternating between moods of nostalgia and futuristic awe, she aims to conciliate the concepts of past and future while reflecting on temporal belonging and the aesthetics of a colorful technology driven world. In 2016, she was a finalist of the Arte Laguna Prize and shortlisted for the Renaissance Photography Prize. Her work has been exhibited in the United States, Italy, Hungary, and the U.K.. She will begin her M.A. in Photography at the Royal College of Art this fall.
Ana Pinto

Heavenly Palace

As China reaches for the stars and society tries to adapt to a constantly changing environment, brought about by rapid modernization and technological developments, a renewed interest in science fiction grows stronger in what many have dubbed as China's golden age of science fiction. 'Heavenly Palace', named after China's first space lab which is currently out of control and falling back to Earth, uses science fiction as a backdrop to express a state of awe and wonder, a carefree and naive optimism reaching for fantasy like expectancies about the future; an ethereal vision which seems to hover over the efforts of the vaguely defined 'Chinese Dream’.
Andreas Kremer was born near Cologne in 1960. He completed a Diploma in Computer Sciences at the Technical University of Cologne and worked in the IT business for many years. In 2013 he became involved with photography again, quitted his IT-job and hasn’t put down his camera since. Several master-classes and self-study besides the practice helped to build the fundament for his new passion. Since 2015 Andreas is photographing commercially in the field of Interior Design. Aside this, he prefers to do personal projects. First influenced by the conceptual approach of the Düsseldorfer photography school, he created two series, “Equinox” and "Individual Ornament". “Equinox” is condensing day and night situations of the same subject in one photography, “Individual Ornament” creates unusual overviews on sceneries of the consumer and leisure world. With some of the images Andreas was featured by online magazines and they were placed by competitions. In 2016 Andreas immersed himself in Japanese photography, impressed by the work of Hosoe, Araki and Moriyama. A first trip to Japan in 2017 led to a first photobook dummy (“Through the eyes of a Geisha”). Based on several images out of this book he was invited by the ‘Deutsche Fotografische Akademie’ to their annual portfolio walk. In parallel Andreas edited a second photobook dummy (“Magic Mushrooms”) containing highly subjective work. The sole use of black and white with strong contrasts shows an impressionistic, mysterious look, and represents a kind of gestures of internal desire and feeling. On many double pages he contrasts fragmentary views of intimate and urban spaces in collage-like image constellations.
Andreas Kremer

Individual Ornament

The phenomenon of the mass is in the center of the detailed photographic works “Individual Ornament” by Andreas Kremer. He creates unusual overviews on sceneries of the consumer and leisure world. The choreography of the people in the urban space and landscape panorama does not create a uniform ornament of the mass. The photographer is not interested in clearing up the chaos of everyday life with simplistic pictorial patterns in his photographs as he uses the right moments to visualize complex structures that make it possible to conceive all depicted persons as Individual Beings. Despite showing a very distant view of a “human landscape” the special quality of the images is that they radiate a vibrant dynamic. It can be felt that every creature, every object and every place is important and in exciting relationship to each other.
Andreas Teichmann was born 1970 in Essen/Germany, where he still lives with his family. During his studies at Folkwang University of Arts he developed his interest in the photographic fields of Portrait- and Journalism. Since 1994 he mainly focus on people and their relation/influence to one another. His work has been published internationally in GEO, Stern, Spiegel, Mare, Du, The Star, NY-Times and others. He was Member of Joop Swart Masterclass 1998 and was awarded Hasselblad Master 2006. He is a member of laif / Photoagency since 1994.
Andreas Teichmann

50 Days - A hike across Germany

”Understanding and being understood - it´s what makes a country feel like home” - With this in mind I used 50 days of hiking in federal-election-summer 2017. Over 1000 km from the furthest western part of Germany to its eastern border. I wanted to find out, what is homeland today, in times of social and political radicalism and hostility towards stranger. I took my time for meeting and listening to people, who coincidental crossed my way. Using hiking as the way of transport I got an immediate understanding for the area I was present. And with my technical slow and heavy large-format-camera, I was forced to be very precise and efficient. Back to the roots of Photography and Transport. I hiked across a Germany with more diversity than expected, and found out: ”Home is a place that we as a society must first create.” I published these portraits and quotations on my daily Blog: 50days.de
Andrey Semenov hail from Kostroma (b. 1976) – old and picturesque small town steeped in history. Now the artist is based in Moscow, Russia. Andrey Semenov’s works are focused on human-environment relationship, borders between person and state,
Andrey Semenov


Earth equally soaks up temple and shit. So-called artefacts, like buildings, highways, airports which are considered to be the proof of superiority of certain species of this planet – all of them remind of a village on the back of a giant Whale from a fairy-tale: it exists as long as the carrier tolerates. But as soon as the Whale gets tired of drowsing around the same place – it will snort, dive into the depths, and everything will be swept away in an instant. ”The man is the winner of Nature” – teachers told us in elementary school and we readily believed. But it was enough to leave our cities and this faith vanished. This project was made on the Polar Ring. It was rich land but strict for a living. Now life left this place and it looks like a field after the battle. The winners have gone away leaving here the artefacts like they leave the empty cans or cigarette butts after the picnic
Arne grew up in a small village 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. He currently studies photography at University of Applied Sciences and Arts in Dortmund.
Arne Piepke

Up there by the Trees

Within my project ”Up there by the Trees” I'm searching for my personal definition of home, to deal with a mental disease I suffer from for more than 8 years. My hometown is a small village in a rural Germany. A place where all my memories were made, where my personality was shaped. I left my hometown in 2014 and was willing to start again in new surroundings - a new home. But after a while I felt the urge to return to my hometown and to photograph it from my new point of view. I went back to these places and people which affected me the most - to learn about myself and my roots, to understand the trigger of my disease. I used the camera not only to document, but to create an intimate and close insight into my feelings, examining my relationship with my past in my hometown.
Born in Germany, Astrid Schulz now lives in Central-London. Over the last 14 years she developed into an award-winning photographer, specializing in the areas of portraiture and editorial photography as well as creative imagery. Influenced by her background as a designer for Film & TV as well as her passion for storytelling, her pictures were once described as well composed still live images from a movie set. Astrid frequently travels abroad for her assignments and personal projects and her work has been exhibited internationally.
Astrid Schulz

Blind Spots

In this photo series the sitters are guided back into childhood memories and photographed whilst remembering challenging situations. In such moments children create negative opinions about themselves and the world such as ‘I am worthless’, ‘life is unfair’ or ‘nobody loves me’. Later in life we are often unaware of the origin of such self-limiting believes, yet we hold on to them as a lifelong burden. All of us have certain blind spots, areas of endeavor or personal issues that we ignore because of the painful doubts or feelings of futility that they arouse. Some would call this our dark side, the shadow aspect of our personality, which can destroy our dreams and thwart our attempts to succeed in life, love and career. The process of photographing the upcoming emotions created space for self-reflection; the final image is shining some light onto hidden viewpoints and behavior patterns.
Bettina Malik was born in 1968. She lives and works in Cologne, Germany. She studied painting and mathematics, and works as a photographer and teacher. In addition to her freelance projects, her passion is to photograph people, and to bring the beauty of the imperfect into focus.
Bettina Malik


For more than 20 years I have wanted to create the Stations of the Cross. I had long since forgotten the idea. Looking at my photos for another series, for which I dressed the dancer Stephan Reschke in a wedding dress, I suddenly knew that Stephan would be perfect for my idea of „Golgotha“ based on the Stations of the Cross.
My name is Caspar Claasen and I'm born in Oostzaan, Netherlands in 1975. I’m a photographer based in Amsterdam, Netherlands. I am fascinated by extraordinary interactions between people, often individuals, and their everyday surroundings. How an apparently everyday moment can become a short story when photographed. How a non–scripted moment can appear so surreal, meaningful, esthetic or humorous that it looks scripted. But it isn't. I am thrilled when I succeed in doing this. EDUCATION 1994 Gerrit Rietveld Academy, Amsterdam, Netherlands PUBLICATIONS 2018 Sporting series in DUMMY Magzine, Germany 2018 A selection of photos in ZEIT Magazine, Germany 2018 Book publication of Even Firemen, published by Plague Press 2017-11 Even Firemen article in Dutch newspaper Het Parool 2017 The Musea series featured in AnOther Magazine, Interview & Booooooom 2016-2017 A bi-monthly photocolumn with Dutch novelist Maartje Wortel for Dutch newspaper Trouw 2016 An article about my Musea series in De Correspondent 2016 Two photos from my Sporting series in Harper's Magazine, US 2015 Two photos from my Museas series in Harper's Magazine, US 2014 One of the featured photographers in David Gibson's book The Street Photographer's Manual (Thames & Hudson) 2014 Sporting series in New Dawn Magazine, NL 2011 GUP Magazine featured my photos from Chisinau, Moldova EXHIBITIONS 2016 Have A Nice Weekend by Vormplatform, EKKO, Utrecht 2014 Great Last Minute Art Fair, Qlick Editions gallery, Rotterdam 2013 Art in Redlight, Qlick Editions gallery, Amsterdam 2013 ECHIE collective launch at Qlick Editions gallery, Amsterdam
Caspar Claasen

Even Firemen

”Papa, does everyone die?” ”Yes, sweetheart. Everyone.” ”Even firemen?” This story is about my daughter Lora (8). Or perhaps more about how she, unwittingly, accompanied me through a dark and wonderful episode of anxiety and depression. Where she sometimes simultaneously was the cause and the cure. In the fall of 2013 I suddenly panicked. Just like that. And then it multiplied. Into thousands of fears, mostly about Lora, then 4 year old. At the same time, I spend a lot of time with her. We went places & had fun, while I was feeling terribly afraid and physically sick. But slowly, and not without setbacks, I got better. I learned – an obvious lesson, as are most life lessons – that you become what you repeat. That confronting and projecting those fears, and repeatedly experiencing that they didn’t come true, helped. I learned that Lora was doing fine. And always had been.