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Emerging Photographer Fund – 2013 Recipient


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 Diana Markosian

My Father, The Stranger

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I knocked on the door of a stranger.

I’ve traveled halfway around the world to meet him.

My father.

I was seven years old when I last saw him.

As the Soviet Union collapsed, so did my family.

I remember my father and I dancing together in our tiny apartment in Moscow and him giving me my first doll.

I also remember him leaving.

Sometimes he would be gone for months at a time and then unexpectedly be back.

Until, one day, it was our turn to leave.

My mother woke me up and told me to pack my belongings. She said we were going on a trip. The next day, we arrived at our new home, California.

We hardly ever spoke of my father. I had no pictures of him, and over time, forgot what he looked like.

I often wondered what it would have been like to have a father.

I still do.

This is my attempt to piece together a picture of a familiar stranger.



Diana Markosian is a documentary photographer and writer.

Her reporting has taken her from Russia’s North Caucasus mountains, to the ancient Silk Road in Tajikistan and overland to the remote Wakhan Corridor in northeastern Afghanistan.

Diana’s images have appeared in The New York Times, The Sunday Times, Marie Claire, Foreign Policy, Foto8,, World Policy Journal, Human Rights Watch, and Amnesty International, amongst others.

Her work has been recognized by a diverse range of organizations including UNICEF, AnthropoGraphia, Ian Parry Scholarship, Marie Claire Int’l, National Press Photography Association, Columbia University and Getty Images. In 2011, Diana’s image of the terrorist mother was awarded photo of the year by Reuters.

She holds a masters from Columbia University’s Graduate School of Journalism.


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Agencies and Collectives

It’s not even December yet, but some Best of 2012s are out already….

VII: Best of 2012: Highlights of a Year in Pictures | ‘VII photographers present their best images, shot or released in 2012′

Best Pictures of the Year from Agence France Presse (Whittier Daily News)

European Pressphoto Agency: The Year in Images (EPA)

Reuters’ best pictures of the year is pretty cool as it includes comments by the photographers and even technical info…

Photo © Goran Tomasevic / Reuters

Photo © Goran Tomasevic / Reuters

Reuters: Best Photos of The Year 2012 (Reuters)

VII Newsletter November 2012

TerraProject Newsletter November 2012

Prime Collective: Newsletter November 2012

NOOR: Evelien Kunst becomes NOOR’s new Managing Director | news on BJP

Magnum event at Frontline Club in London : Magnum Revolution: 65 Years of Fighting for Freedom : Thursday December 13, 2012 7:00 PM

Pioneer photo agency Sipa Press files for bankruptcy protection (BJP)

Katie Orlinsky joins Reportage by Getty Images as a Featured Photographer

Tommaso Protti joins Emerging Talent at Reportage by Getty Images

Firecracker November 2012


Trailer to the upcoming McCulling documentary…Very much looking forward to seeing the film at some point…In the mean time I’ll be reading his autobiography Unreasonable Behaviour.

Trailer to the documentary ‘McCullin’ (Guardian) ‘Watch the world exclusive trailer for David and Jacqui Morris’s documentary on British photographer Don McCullin, whose acclaimed work for the Observer and the Sunday Times in Vietnam, Biafra, Cyprus and Lebanon produced some of the defining images of war. McCullin describes the ‘moral sense of purpose and duty’ behind his work. McCullin is released in the UK on 1 January 2013′

Somewhere to Disappear with Alec Soth

Looks like Contrasto has pushed the publication of James Nachtwey’s Pietas forward until September 2013… Was supposed to come out late October… Shame. Was on my wish list for Santa…

James Nachtwey: Pietas 

Reckoning at the Frontier by Eros Hoagland (Kickstarter crowdfunding) ‘Reckoning at the Frontier is an upcoming photography book that explores the drug war in northern Mexico.’

Workshop : Photographic storytelling with Sebastian Meyer and Anastasia Taylor-Lind : 7 December, London(Guardian) ‘Two eminent, widely published and very different photojournalists give a Guardian Masterclass in telling stories with images.’

Photo © Maysun


Jordi Ruiz Cicera

David Vintiner

Matilde Gattoni

Hiroyuki Ito

Nicola Lo Calzo

Howard Schatz

Andrew Lichtenstein

Matthew Niederhauser

Lindsay Mackenzie

Andrea Frazzetta

Narciso Contreras

Georgina Cranston

Mark Seager

Matt Carr

Michal Solarski

Laura Pannack new website

Duncan Nicol Robertson

Mark Hartman

Mark Hartman on Verve

Paul Taggart on Verve

Pavel Prokopchik on Verve

Philipp Spalek  on Verve

Daniel Hartley-Allen on Verve

Linda Dorigo on Verve

Pascal Maitre

Matteo di Giovanni

Sebastiano Tomada Piccolomini

Greta Pratt

Toufic Beyhum

Emine Ziyatdinova

Artur Conka

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Laia Abril

A Bad Day

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A Bad Day‘ is a multimedia piece that approaches the struggle of bulimia and that is the first chapter of an ongoing long-term project about Eating Disorders. Jo is 21 and suffers from bulimia, a kind of eating disorder. Her obsession is not about being thin; it’s about not gaining weight, in spite of the huge amount of food that she ingests every day. Bulimia has taken all her time and money, and also her passion: dance. ‘If I was not bulimic I would be dancing like before’ Jo says. ‘But ballet is about elegance and perfection, and I’m a crap person in the middle of chaos’. She doesn’t look overweight and she hates her body and can’t see herself in leggings in front of a mirror anymore. She also thinks that her addiction is ‘disgusting’. That’s why she never told anyone ‘ not even her boyfriend ‘ about it. For some reason, she decided to open herself to me.

The project started, after a deep research, shooting for few weeks in November 2010, when I spent my days with Jo in her house in Edinburgh. I woke up with her and listened to her saying: ‘I hope this is going to be a good day’. With her I went to the supermarket and watched movies in her computer. I also saw her going through daily crisis, eating and vomiting immediately after. She confessed to me that she self-injures herself, specifically small cuts in her legs and feet. I saw her good days turning into very bad ones and I saw Jo acting in public as if everything was absolutely fine. And this is actually what this illness is all about, pretending that everything is all right while it’s not. An apparent normality that makes bulimia one of the hardest disorders to diagnose and a devastating killer of female teenagers and young adults worldwide.

The lies and misunderstandings that surround bulimia are what convinced me to further develop this project. I would like my images to catch the contradictory feelings and behaviors that these girls have to go through day after day. My approach is going to be intimate and psychological and will leave in the back the more physical manifestations of the of the disease.



Laia Abril, 25, is a documentary photographer raised in Barcelona. She holds a bachelor’s degree in Journalism and studied photography at ICP in New York City. She began working on documentary projects in the Balkans, covering the 13th Funeral of Srebrenica and the Independence of Kosova, first for a Spanish NGO and then for Spanish newspapers. In 2009 and 2010 she was a finalist on the Ian Parry Award participating at the Getty Gallery in London first with her photo project about the young lesbian community in Brooklyn and then with the project ‘The Last Cabaret’ about a porno sex-life club in Barcelona. Her work has been featured in magazines including OjodePez, The Sunday Times magazine, DRepubblica, and COLORS magazine amongst others, and has been recognized with various scholarships. After spending two years at FABRICA (the Benetton research and communication center in Italy) she is currently working as a staff photographer, blogger and Associate Picture Editor for COLORS Magazine combining her freelance career and keeping developing her personal project.

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A Bad Day multimedia

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Ulaan Baator, Mongolia 2011

Alessandro Grassani (b. 1977, Italy) graduated in photography from the Riccardo Bauer Institute in Milano. His work has been published in Time Magazine and The Sunday Times and exhibited in personal and collect shows including at the Photography Festival of Arles. In 2010 he began a long-term project called, “Environmental Migrants: The last illusion” documenting  life of people worldwide forced to migrate because of climate change. He was awarded at Premio Internacional de Fotografia Humanitaria Luis Valtuena (First prize, 2011) IPA, International Photography Awards (Third prize, 2011),the  SOFA Global World Photo Award (special mention, 2011), and the Memorial Mario Giacomelli (special mention, 2010). Alessandro is represented by Luz Photo.

About the Photograph:

“This photograph is part of the Environmental Migrants project. It was shot under the staircase where the Jigjjav family live. Jargalsaikhan a former shepherd, sits with his family: his wife, two daughters (one of them, Dyun Erdene, 26 year old, is beside him in the picture) and his four year old nephew playing on the stairs. His wife is an apartment guard and so they  live in a space under the staircase in the building where my wife works. The family  moved to the city after the Dzud -the more extreme Mongolian winter – killed their 150 sheep. Now, they live off the meager earnings brought in by his wife, who works as an apartment guard in the building. She is the only one with a job.”

“Mongolia is an extremely poor country. Twenty percent of its three million inhabitants live on little more then a dollar a day and thirty percent suffer from malnutrition. The herdsmen from the countryside are forced to abandon the rural and isolated areas where they used to live. They arrive in the city after a lifetime spent in the pastures and are untrained to take on any kind of work and end up living a life of hardship in the slum of the city which, in the past twenty years has rapidly grown without any urban planning, running water or electricity.”

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If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.”—Eve Arnold

Photographer Eve Arnold, who died Thursday morning at the age of 99, is probably best remembered for her celebrity photographs of Marilyn Monroe, made over the span of a decade from the early 1950s to those taken on the set of the movie star’s final film, The Misfits. But Arnold also traveled the world to make equally exceptional photographs of the poor and disposed.

Arnold, the daughter of Russian-Jewish immigrants, was born in Philadelphia, Pennsylvania in 1912. In the late 1940’s, she studied photography—alongside Richard Avedon—under inspirational art director Alexei Brodovitch at the New School for Social Research in New York. Her first photo story documented African-American fashion shows in Harlem and the project would lead directly to her being granted unprecedented access by Malcom X to document the Black Muslims and the way they worked over the next two years.

In the early 1950’s, she began working for the photo news publications of the day, first for Picture Post, then Time and Life magazines. And in 1957 she became the first woman photographer to join Magnum Photos.

She will perhaps be best remembered for her exceptional photographs of people: the famous, politicians, musicians, artists —among them Malcolm X, Joan Crawford, Elizabeth Taylor, Paul Newman, Jacqueline Kennedy and Monroe. “I look for a sense of reality with everything I did,” she once said. “I didn’t work in a studio, I didn’t light anything. I found a way of working which pleased me because I didn’t have to frighten people with heavy equipment, it was that little black box and me”

But it is the long term reportage stories that drove Arnold’s curiosity and passion. She traveled extensively to make work on regions that had been off limits to the west—to China, Mongolia, the Soviet Union, and also to Cuba, South Africa and Afghanistan. In 1971 she made a film, Women Behind the Veil, going inside Arabian harems and hammams.

Arnold continued to work for respected publications, most notably the Sunday Times color supplement. In 2003 she was honored with an OBE in recognition for her services to photography. Her work is renowned for its intimacy. Whether photographing celebrity or the everyday, Arnold’s portraits are magical, memorable and enduring.

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