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Decagon Gallery
The exhibition Planet Earth gathered a diverse community of photographers who turned their lenses toward the extraordinary variety of life and landscape that defines our world. Together, their images traced a journey across continents and climates, revealing Earth in all its majesty and vulnerability. From soaring mountain ranges and windswept coastlines to forests, deserts, and fields of cultivated land, the photographs underscored both the abundance and the delicacy of the natural systems on which we depend.
What emerged was a visual chorus—at once celebratory and contemplative—that invited viewers to slow down and look more carefully at the world around them. Some artists chose to capture the sweep of geological time carved into stone, glacier, and canyon. Others found meaning in the minute: the symmetry of a leaf’s veins, the flicker of light across water, or the fleeting movement of a bird in flight. These contrasts between the vast and the intimate suggested the interconnectedness of all things, reminding us that the Earth’s story unfolds at multiple scales simultaneously.
In a moment when environmental change is reshaping landscapes and ecosystems with unsettling speed, Planet Earth carried an additional urgency. Many of the works reflected a sense of responsibility and care, a desire to bear witness to what is at risk of being lost. Yet the exhibition was not only a meditation on fragility—it was equally a testament to resilience. The images revealed a planet that, despite its pressures, continues to regenerate, adapt, and inspire awe.
For viewers, the exhibition was both a celebration of beauty and a call to reflection. It asked us to remember that Earth is not simply a backdrop for human endeavor, but a living, breathing system in which we are deeply embedded. To stand before these photographs was to be reminded of our shared belonging, our shared vulnerability, and our shared duty to protect the only home we have.
Planet Earth offered not just a collection of images, but an invitation: to look closely, to feel deeply, and to carry forward a renewed sense of reverence for the world that sustains us all.
-John Manno
A NOTE FROM THE JUROR:
This year’s competition brought together an extraordinary collection of photographs — each one filled with emotion, depth, and meaning. There were so many powerful submissions that selecting individual winners was truly a difficult task. Yet, as a judge, I had to make my choices following a fair and thoughtful process.
For my evaluation, I considered several key parameters — Thematic Relevance (TR), Visual Impact (VI), Composition & Framing (CO), Technical Execution (TE), Emotional Value (EV), and Originality (OR).
While judging, I tried to find the images that made me pause for a moment — photographs that not only captured the eye but also stirred the mind and touched the heart.
Through these images, I witnessed stories of our planet’s beauty, its fragility, and the people whose lives are intertwined with nature’s rhythm. From the quiet endurance of humanity amidst climate challenges to the grandeur of Earth’s landscapes, these works remind us of our shared responsibility — to preserve, protect, and cherish our only home, Planet Earth.
I extend my heartfelt appreciation to all the photographers who submitted their works with such dedication and vision, and to the organizers for curating a theme that carries immense importance and for entrusting me with this meaningful judging role.
— Pinu Rahman
Ambassador , World Photographic Olympiad
October 2025
PLANET EARTH
THE PLANET WE CALL HOME
FIRST PLACE
Bipul Ahmed
Joypurhat, Bangladesh
A Moment of Care Amid the Climate Crisis
Amidst the devastating floodwaters of Kurigram, Bangladesh, on July 6, 2024, in Jatrapur Union, a mother stands in chest-deep water, holding her child tightly to her chest. Around her, homes, roads, and fields lie submerged as incessant rains — a result of climate change — have flooded thousands of houses in the surrounding area, leaving many people homeless. Yet she remains unyielding. Her weary face contrasts with the fierce determination in her eyes — a testament to the unconditional love and strength that no disaster can wash away. This moment reflects not only the resilience of an individual but also the humanitarian response embodied in a mother’s courage to protect life amidst climate change.
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
A Moment of Care Amid the Climate Crisis
Amidst the devastating floodwaters of Kurigram, Bangladesh, on July 6, 2024, in Jatrapur Union, a mother stands in chest-deep water, holding her child tightly to her chest. Around her, homes, roads, and fields lie submerged as incessant rains — a result of climate change — have flooded thousands of houses in the surrounding area, leaving many people homeless. Yet she remains unyielding. Her weary face contrasts with the fierce determination in her eyes — a testament to the unconditional love and strength that no disaster can wash away. This moment reflects not only the resilience of an individual but also the humanitarian response embodied in a mother’s courage to protect life amidst climate change.
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
Maryam Ghasempour
Lahijan, Iran
Veins of the Planet
The lines on my father’s hands reminded me of the veins of the planet. In their patterns, I saw how lives
are connected across distance, how care and labor leave marks, and how the smallest gestures can trace
the paths of resilience in a larger world.
Maryam (Nilu) Ghasempour Siahgaldeh (b. 1994) is a researcher, photojournalist, activist, and MFA
candidate in Photography at Kansas State University. Before immigrating to the U.S., she worked in
documentary photography in northern Iran, focusing on intimate moments in the lives of older women and
men and addressing social justice issues, including child labor.
Since moving to the U.S., Maryam has navigated the complexities of dual identity, shaping her perspective
as both insider and outsider. Her work documents American life while revisiting archival photographs to
explore women’s experiences in Iran and after migration.
Alongside documentary work, she experiments with abstraction, nature, and large-scale imagery, seeking
to expand her artistic language. As an emerging artist, she aims to establish her voice and be recognized
in the contemporary art world.
Veins of the Planet
The lines on my father’s hands reminded me of the veins of the planet. In their patterns, I saw how lives
are connected across distance, how care and labor leave marks, and how the smallest gestures can trace
the paths of resilience in a larger world.
Maryam (Nilu) Ghasempour Siahgaldeh (b. 1994) is a researcher, photojournalist, activist, and MFA
candidate in Photography at Kansas State University. Before immigrating to the U.S., she worked in
documentary photography in northern Iran, focusing on intimate moments in the lives of older women and
men and addressing social justice issues, including child labor.
Since moving to the U.S., Maryam has navigated the complexities of dual identity, shaping her perspective
as both insider and outsider. Her work documents American life while revisiting archival photographs to
explore women’s experiences in Iran and after migration.
Alongside documentary work, she experiments with abstraction, nature, and large-scale imagery, seeking
to expand her artistic language. As an emerging artist, she aims to establish her voice and be recognized
in the contemporary art world.
Graeme Guy
Tanjung Bungah, Malaysia
Electric Earth
Our home planet is very restless. Electrical activity in the form of thunderstorms is almost non-stop around
the world. Lightning strikes occur at 44 times per second or 1.2 billion times a year. This image was
recorded over the Malaysian mainland.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Electric Earth
Our home planet is very restless. Electrical activity in the form of thunderstorms is almost non-stop around
the world. Lightning strikes occur at 44 times per second or 1.2 billion times a year. This image was
recorded over the Malaysian mainland.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Shamani Surendran
Wimbledon, United Kingdom
The Last Bird Song 3
The Last Bird Song is a meditation on environmental damage told through three recurring motifs: the bird,
the leafless tree, and the fallen leaf. Across this series of photographic based works, I return to these
symbols with quiet intensity, using them to ask what it means to witness nature’s decline - and what we
lose when memory replaces presence.
Each image is structured around a stark, central tree - bare, black, and brittle. At its edges, a bird perches
or departs, its role uncertain: sentinel or survivor. Scattered within the tree are printed images of fallen
autumn leaves, taken during my walks. This repopulating of the tree with what has already fallen - what
has already died - is a gesture both poetic and unsettling. These are not romantic landscapes, but rather
sites of reckoning.
Materiality is crucial. The works are printed on metallic fine art canvas, stretched and mounted like
traditional paintings. The surface holds a painterly nuance that reflects my desire to bridge the
photographic process with a more tactile tradition. The result is a body of work that sits within the canon
of landscape painting while remaining defiantly nomadic in its genre. Photography, collage, printmaking,
painting - all are in play here, none dominant.
I have long been drawn to birds and trees. In this series, they become something more than symbols. They
are witnesses. They are warnings. They are reminders of what still exists, and what may soon not. The
Last Bird Song doesn’t offer answers, but it does insist on attention. On the need to see clearly, before we
can no longer see at all.
There are currently 13 images in the series.
ABOUT ME
I am a London-based nature photographer. My favourite subject to photograph is trees. I feel a sense of
connection when I am around them. My photography normally starts off with snaps taken during my
almost daily short hikes but then go through a personalised journey adding some magic to the everyday.
My images have been described as “hazy and dreamy, full of nostalgia and misty mixes of colour and
encourage the viewer to consider how the imagination and the observing eye can work in tandem to create
new forms of seeing”.
A selection of my work has appeared in galleries, limited edition photo books and
magazines in the UK and US.
The Last Bird Song 3
The Last Bird Song is a meditation on environmental damage told through three recurring motifs: the bird,
the leafless tree, and the fallen leaf. Across this series of photographic based works, I return to these
symbols with quiet intensity, using them to ask what it means to witness nature’s decline - and what we
lose when memory replaces presence.
Each image is structured around a stark, central tree - bare, black, and brittle. At its edges, a bird perches
or departs, its role uncertain: sentinel or survivor. Scattered within the tree are printed images of fallen
autumn leaves, taken during my walks. This repopulating of the tree with what has already fallen - what
has already died - is a gesture both poetic and unsettling. These are not romantic landscapes, but rather
sites of reckoning.
Materiality is crucial. The works are printed on metallic fine art canvas, stretched and mounted like
traditional paintings. The surface holds a painterly nuance that reflects my desire to bridge the
photographic process with a more tactile tradition. The result is a body of work that sits within the canon
of landscape painting while remaining defiantly nomadic in its genre. Photography, collage, printmaking,
painting - all are in play here, none dominant.
I have long been drawn to birds and trees. In this series, they become something more than symbols. They
are witnesses. They are warnings. They are reminders of what still exists, and what may soon not. The
Last Bird Song doesn’t offer answers, but it does insist on attention. On the need to see clearly, before we
can no longer see at all.
There are currently 13 images in the series.
ABOUT ME
I am a London-based nature photographer. My favourite subject to photograph is trees. I feel a sense of
connection when I am around them. My photography normally starts off with snaps taken during my
almost daily short hikes but then go through a personalised journey adding some magic to the everyday.
My images have been described as “hazy and dreamy, full of nostalgia and misty mixes of colour and
encourage the viewer to consider how the imagination and the observing eye can work in tandem to create
new forms of seeing”.
A selection of my work has appeared in galleries, limited edition photo books and
magazines in the UK and US.
Bipul Ahmed
Joypurhat, Bangladesh
Flood-Affected Family
Amidst the devastating floodwaters of Kurigram, Bangladesh, on July 6, 2024, in Jatrapur Union, a mother stands in chest-deep water, holding her child tightly to her chest. Around her, homes, roads, and fields lie submerged as incessant rains — a result of climate change — have flooded thousands of houses in the surrounding area, leaving many people homeless. Yet she remains unyielding. Her weary face contrasts with the fierce determination in her eyes — a testament to the unconditional love and strength that no disaster can wash away. This moment reflects not only the resilience of an individual but also the humanitarian response embodied in a mother’s courage to protect life amidst climate
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
Flood-Affected Family
Amidst the devastating floodwaters of Kurigram, Bangladesh, on July 6, 2024, in Jatrapur Union, a mother stands in chest-deep water, holding her child tightly to her chest. Around her, homes, roads, and fields lie submerged as incessant rains — a result of climate change — have flooded thousands of houses in the surrounding area, leaving many people homeless. Yet she remains unyielding. Her weary face contrasts with the fierce determination in her eyes — a testament to the unconditional love and strength that no disaster can wash away. This moment reflects not only the resilience of an individual but also the humanitarian response embodied in a mother’s courage to protect life amidst climate
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
Dimitry Papkov
Clinton, MA
Misty Embrace
A few years ago, before I became serious about my photography, I went to the Oregon coast with my wife.
One of the stops during our trip was at Cannon beach. We came there close to the sunset, and spent some
time photographing the beautiful sea stacks and the crashing waves.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
Misty Embrace
A few years ago, before I became serious about my photography, I went to the Oregon coast with my wife.
One of the stops during our trip was at Cannon beach. We came there close to the sunset, and spent some
time photographing the beautiful sea stacks and the crashing waves.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
SECOND PLACE
THIRD PLACE
HONORABLE MENTION
HONORABLE MENTION
DIRECTOR'S CHOICE
Colin Smith
Baltimore, MD
Acid Mine Drainage from the Big Lick Tunnel
Central Pennsylvania in the United States was once a thriving coal mining community from the late 1800's until
about the 1970's. Throughout Central Pennsylvania there are thousands of abandoned mines that flood and
create a substance called acid mine drainage. Acid mine drainage is a byproduct of dissolved heavy metals such
as iron, manganese, aluminum, arsenic, lead, cadmium and other metals.
Acid mine drainage seeps into many major waterways in Pennsylvania. It is a destructive force that chokes life in
waterways and could consequently cause long term heath issues.
It's destructive nature creates eerie landscapes of orange, red and blueish grey waters. Acid mine drainage can
also create microbiomes. A very colorful leptothrix discorpia ( heavy metal eating bacteria ) will take residence in
some of these water ways and feed on these heavy metals.
While these landscapes can be beautiful, they are in all reality, very destructive.
While coal was used for heat and energy, the long term greed, lack of care for the long term effects caused
impacts on the community and their environments. While energy is a necessity, it also comes with a cost.
Acid Mine Drainage from the Big Lick Tunnel
Central Pennsylvania in the United States was once a thriving coal mining community from the late 1800's until
about the 1970's. Throughout Central Pennsylvania there are thousands of abandoned mines that flood and
create a substance called acid mine drainage. Acid mine drainage is a byproduct of dissolved heavy metals such
as iron, manganese, aluminum, arsenic, lead, cadmium and other metals.
Acid mine drainage seeps into many major waterways in Pennsylvania. It is a destructive force that chokes life in
waterways and could consequently cause long term heath issues.
It's destructive nature creates eerie landscapes of orange, red and blueish grey waters. Acid mine drainage can
also create microbiomes. A very colorful leptothrix discorpia ( heavy metal eating bacteria ) will take residence in
some of these water ways and feed on these heavy metals.
While these landscapes can be beautiful, they are in all reality, very destructive.
While coal was used for heat and energy, the long term greed, lack of care for the long term effects caused
impacts on the community and their environments. While energy is a necessity, it also comes with a cost.
David Thurman
Thornton, CO
Clash in the Canopy - La Fortuna, Costa Rica
I'm a travel and wildlife photographer who loves capturing the moments that make the viewer feel connected in
some way. Whether it's the quiet of a mountain valley, the power of a coastline, or an encounter with wildlife in its
natural element, my work is about sharing the sense of wonder I find in the world.
I'm also a woodworker, and I build frames by hand to match each image. Using local hardwoods, I create frames
that complement the photograph and bring the whole piece together. For me, the photograph and the frame work
hand in hand, one capturing a moment in time and the other grounding it in something lasting and tangible.
Clash in the Canopy - La Fortuna, Costa Rica
I'm a travel and wildlife photographer who loves capturing the moments that make the viewer feel connected in
some way. Whether it's the quiet of a mountain valley, the power of a coastline, or an encounter with wildlife in its
natural element, my work is about sharing the sense of wonder I find in the world.
I'm also a woodworker, and I build frames by hand to match each image. Using local hardwoods, I create frames
that complement the photograph and bring the whole piece together. For me, the photograph and the frame work
hand in hand, one capturing a moment in time and the other grounding it in something lasting and tangible.
Diana Kogos
Cortlandt Manor, NY
Adhesion
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Adhesion
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Diana Kogos
Cortlandt Manor, NY
Prepare for Takeoff
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Prepare for Takeoff
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Diana Kogos
Cortlandt Manor, NY
Reflections
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Reflections
Abstract artist, wildlife, and macro photographer, Diana is inspired by patterns in nature. Repetition of lines and
shapes in feathers, bird plumages, spider webs, compound eyes, scales of butterfly wings; symmetries,
meanders, and fractals found in landscapes, plants, mollusk shells, and coral formations - these natural elements
are fascinating to find and capture. They are an inspiration for her paintings, which transform flat surfaces into
three-dimensional spaces through an interplay of lines, values, and shapes.
Erica Sloan
Cambridge, MA
Wings Over the Light
My work begins with a simple act: standing still and paying attention. I am drawn to the quiet moments that often
slip unnoticed-the subtle shift of light across water, the slow exhale of fog over a harbor, the way a wave's edge
curls before dissolving into the sand. These are moments of stillness and transience, and it is within that tension
that my creative practice lives.
I create images that blend the real and the constructed, often combining multiple exposures or compositing
elements from different frames to create scenes that feel both possible and impossible. This process allows me
to capture what cannot be contained in a single instant-the layered sensations of being in a place, the emotional
resonance of memory, and the undercurrent of movement that exists even in stillness.
Water has been my most constant subject. It is a grounding, centering force in my own life, yet it also speaks of
impermanence and change. The ocean's choreography-ever-shifting yet eternal-mirrors the rhythms of our own
lives. In my images, water becomes a metaphor for emotion, its textures and tones shifting with the same
unpredictability as our inner landscapes.
Photography, for me, is both a language and a meditation. It is a way to hold a moment long enough to
understand it, while accepting that it will never be truly fixed. I work intuitively, guided by light, weather, and
instinct, but also deliberately, crafting each image so that it feels inevitable-as if it could not exist any other way.
In the final works, I hope to create spaces for pause. I want viewers to linger, to question what they see, to feel
the pull of recognition without being certain of its source. Some images may read as straightforward landscapes,
while others reveal their constructed nature on closer inspection. This ambiguity is intentional; it invites the
viewer into a dialogue, allowing the work to shift in meaning depending on who is looking, and when.
Ultimately, my work is about the intersection of presence and longing-the act of standing fully in a moment while
also sensing the horizon of what lies beyond it. It is about the beauty of where we are, and the pull toward what
we can never quite reach.
Wings Over the Light
My work begins with a simple act: standing still and paying attention. I am drawn to the quiet moments that often
slip unnoticed-the subtle shift of light across water, the slow exhale of fog over a harbor, the way a wave's edge
curls before dissolving into the sand. These are moments of stillness and transience, and it is within that tension
that my creative practice lives.
I create images that blend the real and the constructed, often combining multiple exposures or compositing
elements from different frames to create scenes that feel both possible and impossible. This process allows me
to capture what cannot be contained in a single instant-the layered sensations of being in a place, the emotional
resonance of memory, and the undercurrent of movement that exists even in stillness.
Water has been my most constant subject. It is a grounding, centering force in my own life, yet it also speaks of
impermanence and change. The ocean's choreography-ever-shifting yet eternal-mirrors the rhythms of our own
lives. In my images, water becomes a metaphor for emotion, its textures and tones shifting with the same
unpredictability as our inner landscapes.
Photography, for me, is both a language and a meditation. It is a way to hold a moment long enough to
understand it, while accepting that it will never be truly fixed. I work intuitively, guided by light, weather, and
instinct, but also deliberately, crafting each image so that it feels inevitable-as if it could not exist any other way.
In the final works, I hope to create spaces for pause. I want viewers to linger, to question what they see, to feel
the pull of recognition without being certain of its source. Some images may read as straightforward landscapes,
while others reveal their constructed nature on closer inspection. This ambiguity is intentional; it invites the
viewer into a dialogue, allowing the work to shift in meaning depending on who is looking, and when.
Ultimately, my work is about the intersection of presence and longing-the act of standing fully in a moment while
also sensing the horizon of what lies beyond it. It is about the beauty of where we are, and the pull toward what
we can never quite reach.
Lisa Trevino
Gaithersburg, MD
Cypress Trees and Knees
The majority of my photography is fortuitously captured, simply because it was a moment I was in.
My distinct lens is shaped by my senses, experiences, and perceptions. I am deeply drawn to the relationships
between color, form, and texture. Much of my work originates from photographs taken on my iPhone, capturing
moments of nature, serendipity, and occasionally, happy accidents. These images serve as a springboard for
exploration, whether they remain as photographs or evolve into drawings, paintings, or relief prints.
I approach each piece as an experiment, embracing the freedom to explore, succeed, or fail. This process allows
me to work across disciplines and continuously discover new possibilities. For me, the joy of making art lies in
trial and error-following an idea wherever it leads. By leaving space for interpretation, I invite viewers to engage
with my work and create their own meanings, encouraging fresh perspectives and personal connections.
Cypress Trees and Knees
The majority of my photography is fortuitously captured, simply because it was a moment I was in.
My distinct lens is shaped by my senses, experiences, and perceptions. I am deeply drawn to the relationships
between color, form, and texture. Much of my work originates from photographs taken on my iPhone, capturing
moments of nature, serendipity, and occasionally, happy accidents. These images serve as a springboard for
exploration, whether they remain as photographs or evolve into drawings, paintings, or relief prints.
I approach each piece as an experiment, embracing the freedom to explore, succeed, or fail. This process allows
me to work across disciplines and continuously discover new possibilities. For me, the joy of making art lies in
trial and error-following an idea wherever it leads. By leaving space for interpretation, I invite viewers to engage
with my work and create their own meanings, encouraging fresh perspectives and personal connections.
Nymera Thornton
Austin, TX
Mourning Perito Moreno
As an interdisciplinary photographer, painter, 'Artist-Explorer', and itinerant culture enthusiast, my work illustrates
a diversity of interconnected subject matter and muses, including material cultural, iconic naturescapes, heritage
sites and architectural marvels. Each piece in my oeuvre can be paired with a photograph I have taken, creating
a syzygy between a documentation of what I saw, and an artistic interpretation. My body of work is, overall, a
provenance of my own exploratory experiences and a documentation of important natural and cultural sites and
objects. My photographs specifically often capture stills of naturescapes and urban sprawls rich in heritage, or
quiet portraits of people and animals existing in their nature.
Abstractly and thematically, I aim to embody the 'Citizen of Earth' spirit, Transcendentalism philosophies, a World
Art History lens and the zeitgeist of Romanticism - an era which, through its artists, elevated exalted ethos
including a reverence of and spiritual connection towards nature and an appreciation of ancient, folk and ethnic
cultures. It is through the work of explorers and artists alike from this era onward that helped to invoke xenophilia
and environmentalism to an otherwise unknowing modern society, thus amplifying cultural curiosity and nature
conservation efforts over time. And of course, it is imperative to accredit these relatively modern revelations to
ancient and indigenous peoples, who across spaces and times, were deeply connected to and reverent of their
natural surroundings, thus creating culture from it. I create with these many syncretic intellectual and spiritual
ideologies in mind, furthermore advocating my beliefs even through a scientific lens in a concept referred to as
the biophilia hypothesis - which highlights Man's innate affinity for Nature. For each solitary landscape I depict is
a recognizable and tremendously culturally significant space in and of itself, celebrating this simple aspect of
human nature.
Ultimately, I create windows to the world, inviting viewers into varying natural and cultural spheres, which are
often intertwined. My hope in creating my pieces is that I may either: expose the viewer to a place or object
frozen in time that is foreign and therefore intriguing, or to create an emotional connection with the viewer
through a shared identity, memory or concern. Using my art, I strive to spotlight peoples, places, and things that
are needing of our attention. My art is for the conscious traveler - the explorer, who seeks within as much as they
seek out.
The images I create are not just material culture stills or landscape portraits. They are paper trails of a large part
of my life - a visual diary representing some of my greatest experiences, my inveterate studies and personal
philosophies. And when I am not creating, I am continuously seeking adventitious adventures and genuine lived
experiences in local spaces where I may develop a greater understanding and appreciation of the diversity of our world and its inhabitants. I am passionate about exploring the earth, connecting with people, and studying our
past to build a better future. For 8 months in 2023, I backpacked through 20 countries with a few clothes, two
pairs of shoes, some art supplies, and a camera as I explored cultures and unique landscapes firsthand. These
travels have changed my life, and are the muse for much of my work now.
Ultimately, my wish as an artist is to raise awareness to heritage sites, important natural landscapes, and cultural
identities which continue to be threatened by misunderstanding, malice, and indifference. My wish as a human is
to, and for others to, in the spirit of Meliorism, continue to learn about the world and people around us we do not
yet know or appreciate, to transform our ignorance into compassion, genuine connection, wholesome curiosity and positive action.
Mourning Perito Moreno
As an interdisciplinary photographer, painter, 'Artist-Explorer', and itinerant culture enthusiast, my work illustrates
a diversity of interconnected subject matter and muses, including material cultural, iconic naturescapes, heritage
sites and architectural marvels. Each piece in my oeuvre can be paired with a photograph I have taken, creating
a syzygy between a documentation of what I saw, and an artistic interpretation. My body of work is, overall, a
provenance of my own exploratory experiences and a documentation of important natural and cultural sites and
objects. My photographs specifically often capture stills of naturescapes and urban sprawls rich in heritage, or
quiet portraits of people and animals existing in their nature.
Abstractly and thematically, I aim to embody the 'Citizen of Earth' spirit, Transcendentalism philosophies, a World
Art History lens and the zeitgeist of Romanticism - an era which, through its artists, elevated exalted ethos
including a reverence of and spiritual connection towards nature and an appreciation of ancient, folk and ethnic
cultures. It is through the work of explorers and artists alike from this era onward that helped to invoke xenophilia
and environmentalism to an otherwise unknowing modern society, thus amplifying cultural curiosity and nature
conservation efforts over time. And of course, it is imperative to accredit these relatively modern revelations to
ancient and indigenous peoples, who across spaces and times, were deeply connected to and reverent of their
natural surroundings, thus creating culture from it. I create with these many syncretic intellectual and spiritual
ideologies in mind, furthermore advocating my beliefs even through a scientific lens in a concept referred to as
the biophilia hypothesis - which highlights Man's innate affinity for Nature. For each solitary landscape I depict is
a recognizable and tremendously culturally significant space in and of itself, celebrating this simple aspect of
human nature.
Ultimately, I create windows to the world, inviting viewers into varying natural and cultural spheres, which are
often intertwined. My hope in creating my pieces is that I may either: expose the viewer to a place or object
frozen in time that is foreign and therefore intriguing, or to create an emotional connection with the viewer
through a shared identity, memory or concern. Using my art, I strive to spotlight peoples, places, and things that
are needing of our attention. My art is for the conscious traveler - the explorer, who seeks within as much as they
seek out.
The images I create are not just material culture stills or landscape portraits. They are paper trails of a large part
of my life - a visual diary representing some of my greatest experiences, my inveterate studies and personal
philosophies. And when I am not creating, I am continuously seeking adventitious adventures and genuine lived
experiences in local spaces where I may develop a greater understanding and appreciation of the diversity of our world and its inhabitants. I am passionate about exploring the earth, connecting with people, and studying our
past to build a better future. For 8 months in 2023, I backpacked through 20 countries with a few clothes, two
pairs of shoes, some art supplies, and a camera as I explored cultures and unique landscapes firsthand. These
travels have changed my life, and are the muse for much of my work now.
Ultimately, my wish as an artist is to raise awareness to heritage sites, important natural landscapes, and cultural
identities which continue to be threatened by misunderstanding, malice, and indifference. My wish as a human is
to, and for others to, in the spirit of Meliorism, continue to learn about the world and people around us we do not
yet know or appreciate, to transform our ignorance into compassion, genuine connection, wholesome curiosity and positive action.
Ricky Workman
Santa Fe, NM
Elephant Dirt Bath
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Elephant Dirt Bath
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Ricky Workman
Santa Fe, NM
Mountain Storms at Sunset in Namibia
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Mountain Storms at Sunset in Namibia
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Ricky Workman
Santa Fe, NM
Trawler at Dawn
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Trawler at Dawn
My approach to photographic art merges timeless traditions with contemporary exploration. From the moment of
capture in the field to the intricate experimentation in my studio, each creation is an intensely personal and joyful
journey. Every image reflects my inner response to the subjects I encounter, offering a window into the story I
seek to share.
Yuchen Wang
Shanghai, China
Blue Stone XXI
There is a silence in stones that speaks louder than words. From ancient monuments to childhood keepsakes,
stones have long been witnesses to human existence - bearing the weight of memory, loss, and longing across
time. In my work, I explore the intimate, often overlooked relationship between humans and stones: how we
touch them, carry them, leave them behind - and how they, in turn, absorb fragments of us.
I am drawn to stones not as static objects, but as vessels of emotional sediment. A stone picked up during a
journey, a polished pebble passed down from generations, or a chunk of cave wall shaped by time - these are
not just geological formations, but containers of human tenderness and trauma. Stones resist language, yet
invite projection; they refuse to be molded, yet they hold our most fragile emotions.
To express this duality, I often wrap stones in blue - a color historically tied to the Romantic imagination. Blue, as
Novalis wrote, is the "color of distance," the hue of yearning and the unknown. In my practice, it becomes both a shroud and a stage: a metaphor for memory suspended between presence and absence. The Romantic blue isn't just melancholic; it is an atmospheric longing, a soft rebellion against the rational. It mirrors the human desire to preserve, to mourn, to dream - all of which are projected onto the cold, silent surface of stone.
Through sculpture, photography, and installation, I treat stones not as inert materials but as poetic agents -
fragments of earth that bear witness to personal and collective histories. I invite viewers to encounter them not
only as matter, but as memory. In doing so, I attempt to collapse the boundary between the geological and the
emotional, the temporal and the eternal - and to remind us that perhaps, in holding a stone, we are also holding
time itself.
Blue Stone XXI
There is a silence in stones that speaks louder than words. From ancient monuments to childhood keepsakes,
stones have long been witnesses to human existence - bearing the weight of memory, loss, and longing across
time. In my work, I explore the intimate, often overlooked relationship between humans and stones: how we
touch them, carry them, leave them behind - and how they, in turn, absorb fragments of us.
I am drawn to stones not as static objects, but as vessels of emotional sediment. A stone picked up during a
journey, a polished pebble passed down from generations, or a chunk of cave wall shaped by time - these are
not just geological formations, but containers of human tenderness and trauma. Stones resist language, yet
invite projection; they refuse to be molded, yet they hold our most fragile emotions.
To express this duality, I often wrap stones in blue - a color historically tied to the Romantic imagination. Blue, as
Novalis wrote, is the "color of distance," the hue of yearning and the unknown. In my practice, it becomes both a shroud and a stage: a metaphor for memory suspended between presence and absence. The Romantic blue isn't just melancholic; it is an atmospheric longing, a soft rebellion against the rational. It mirrors the human desire to preserve, to mourn, to dream - all of which are projected onto the cold, silent surface of stone.
Through sculpture, photography, and installation, I treat stones not as inert materials but as poetic agents -
fragments of earth that bear witness to personal and collective histories. I invite viewers to encounter them not
only as matter, but as memory. In doing so, I attempt to collapse the boundary between the geological and the
emotional, the temporal and the eternal - and to remind us that perhaps, in holding a stone, we are also holding
time itself.
Álvaro Pérez Mulas
Zamora, Spain
Untitled 32 (present ABSENCE series)
"I was raised by an artist, my father, both at home and at school. So art became my natural form of expression. While many artists choose a specific medium, as my father did with sculpture, I take the opposite approach. I believe the medium should evolve based on the idea you want to convey. This philosophy has led me to work across various forms: photography, sculpture, video, installation, performance, painting, and drawing—whatever best suits the concept.
Through my work, I seek contradictions to explore alternative perspectives. This process challenges my own beliefs, helps me confront my fears, and reevaluate my needs. It’s especially present in my engagement with loss—both emotional and material—hardship that always leaves its trace. Nostalgia and melancholy are central to my art, reflecting on the passage of time, the sediment it leaves on people and environments, and the loss of innocence. I also explore the erosion of trust in a society I increasingly view with irony and skepticism.
In addition to my artistic practice, I teach, and the two roles are deeply interconnected. My teaching informs my art, while my creative processes influence my pedagogy. I don’t see these as separate domains but as mutually enriching. This interplay sparks my interest in the perceptual system, how it is shaped by biases, and how we can both question and manipulate it. I’m also intrigued by the relationship between visual and literary media, and how they intersect in conveying meaning."
Untitled 32 (present ABSENCE series)
"I was raised by an artist, my father, both at home and at school. So art became my natural form of expression. While many artists choose a specific medium, as my father did with sculpture, I take the opposite approach. I believe the medium should evolve based on the idea you want to convey. This philosophy has led me to work across various forms: photography, sculpture, video, installation, performance, painting, and drawing—whatever best suits the concept.
Through my work, I seek contradictions to explore alternative perspectives. This process challenges my own beliefs, helps me confront my fears, and reevaluate my needs. It’s especially present in my engagement with loss—both emotional and material—hardship that always leaves its trace. Nostalgia and melancholy are central to my art, reflecting on the passage of time, the sediment it leaves on people and environments, and the loss of innocence. I also explore the erosion of trust in a society I increasingly view with irony and skepticism.
In addition to my artistic practice, I teach, and the two roles are deeply interconnected. My teaching informs my art, while my creative processes influence my pedagogy. I don’t see these as separate domains but as mutually enriching. This interplay sparks my interest in the perceptual system, how it is shaped by biases, and how we can both question and manipulate it. I’m also intrigued by the relationship between visual and literary media, and how they intersect in conveying meaning."
Bipul Ahmed
Joypurhat, Bangladesh
Waiting for Water in Salted Lands
In Gabura of coastal Bangladesh, women sit patiently for hours, waiting their turn to collect drinkable water—often after walking miles on foot. Since cyclones Sidr and Aila destroyed embankments, seawater has infiltrated the land, turning it saline and barren. What remains is a daily struggle for survival in a climate-altered reality where even a pot of clean water is a distant hope.
Over two lakh people across 12 unions in Shyamnagar upazila face this crisis as ponds and reservoirs dry up in the summer and tube-wells fail due to salinity. Many wait three to four hours at a pond sand filter (PSF) just to fill a single jar of water, while children often miss school to help their families fetch water. Some families spend nearly a third of their meager daily income simply to buy safe water. For them, survival means choosing between a day’s work, a day’s education—or a day’s drinking water.
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
Waiting for Water in Salted Lands
In Gabura of coastal Bangladesh, women sit patiently for hours, waiting their turn to collect drinkable water—often after walking miles on foot. Since cyclones Sidr and Aila destroyed embankments, seawater has infiltrated the land, turning it saline and barren. What remains is a daily struggle for survival in a climate-altered reality where even a pot of clean water is a distant hope.
Over two lakh people across 12 unions in Shyamnagar upazila face this crisis as ponds and reservoirs dry up in the summer and tube-wells fail due to salinity. Many wait three to four hours at a pond sand filter (PSF) just to fill a single jar of water, while children often miss school to help their families fetch water. Some families spend nearly a third of their meager daily income simply to buy safe water. For them, survival means choosing between a day’s work, a day’s education—or a day’s drinking water.
I am a travel and documentry photographer from Bangladesh, deeply inspired by the people, landscapes, and traditions of my country. Growing up in a village, I learned to see beauty in ordinary moments—an influence that continues to guide my storytelling today.
My work focuses strongly on climate change and its impact on human lives, documenting resilience in the face of rising seas, floods, and shifting landscapes. Alongside this, I explore cultural heritage and everyday life, showing how communities adapt and endure. My photographs have been featured in The Guardian, The Times, The Daily Telegraph, VSD Magazine, The Sun, Germany Newsletter, CCTV Asia Pacific, Peoples Daily, CRI Bangla, Modern Zhuhai Communications, The Daily Star, Business Post, and more.
For me, photography is more than documentation—it is a bridge between memory and awareness, a way to connect personal stories with urgent global issues. Through my images, I hope to inspire reflection, empathy, and action.
Dimitry Papkov
Clinton, MA
After the Storm
A few years ago, I spent a few days in the Moab area in Utah. One of the places we stopped was the
weirdly named "Dead Horse Point" State Park for sunset. As we arrived, a major rain storm passed by. As it
cleared a little, it left behind the beautiful colors of the sunset mixed with the stormy clouds.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
After the Storm
A few years ago, I spent a few days in the Moab area in Utah. One of the places we stopped was the
weirdly named "Dead Horse Point" State Park for sunset. As we arrived, a major rain storm passed by. As it
cleared a little, it left behind the beautiful colors of the sunset mixed with the stormy clouds.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
Dimitry Papkov
Clinton, MA
Impressions of Autumn
I pass this pond every day on my way to work, and stopped multiple times to capture it. However, it never
came out quite right. Finally, one day, heavy mist covered the surroundings. Using the mist and a long lens
to isolate some of the details I was able to capture this image. As I was working on it, it reminded me of
some of the impressionist style paintings, and I leaned into that feeling in the editing process.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
Impressions of Autumn
I pass this pond every day on my way to work, and stopped multiple times to capture it. However, it never
came out quite right. Finally, one day, heavy mist covered the surroundings. Using the mist and a long lens
to isolate some of the details I was able to capture this image. As I was working on it, it reminded me of
some of the impressionist style paintings, and I leaned into that feeling in the editing process.
I am a travel and landscape photographer based in Clinton, MA. I moved to New England about five and a
half years ago and am still exploring this amazing area, trying to bring its amazing landscape variety to
life. There is nothing like climbing a mountain to watch the sun settling over the vista or enjoying the quiet
of the early morning woods. As they say in Maine, it is the way life should be.
Graeme Guy
Tanjung Bungah, Malaysia
Colorful Jewels
Throughout the animal kingdom there is a hugely active food chain where hunters survive by eating
victims lower down the chain, who in turn develop survival mechanisms. Such a hunt is epitomized by the
cheetah, the fastest mammal in the world, running down a young antelope.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Colorful Jewels
Throughout the animal kingdom there is a hugely active food chain where hunters survive by eating
victims lower down the chain, who in turn develop survival mechanisms. Such a hunt is epitomized by the
cheetah, the fastest mammal in the world, running down a young antelope.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Graeme Guy
Tanjung Bungah, Malaysia
Hunting to Survive
Throughout the animal kingdom there is a hugely active food chain where hunters survive by eating
victims lower down the chain, who in turn develop survival mechanisms. Such a hunt is epitomized by the
cheetah, the fastest mammal in the world, running down a young antelope.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Hunting to Survive
Throughout the animal kingdom there is a hugely active food chain where hunters survive by eating
victims lower down the chain, who in turn develop survival mechanisms. Such a hunt is epitomized by the
cheetah, the fastest mammal in the world, running down a young antelope.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Graeme Guy
Tanjung Bungah, Malaysia
The Great Migration
Our planet has many diverse activities in the animal kingdom, one of which is the great migration that
occurs in the savannahs of mid-Africa and involves millions of grazing animals. Famous in this activity is
the massed crossing of the Mara river in Kenya. Mainly wildebeest but other grazers cross the river in
chaotic masses, as shown in the image.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
The Great Migration
Our planet has many diverse activities in the animal kingdom, one of which is the great migration that
occurs in the savannahs of mid-Africa and involves millions of grazing animals. Famous in this activity is
the massed crossing of the Mara river in Kenya. Mainly wildebeest but other grazers cross the river in
chaotic masses, as shown in the image.
Graeme was born in Wellington, New Zealand. A passion for nature photography started when he was
in high school in Upper Hutt, am outer suburb of Wellington. The passion has remained for many years but
took a back seat to academic study and raising a family. While living in Singapore Graeme founded the
Nature Photographic Society of Singapore and the society is approaching 20 years. Graeme’s first
occupation was as a pharmacist in New Zealand. He returned to academic studies and obtained a PhD in
biochemistry at Flinders University in South Australia. He held appointments in Birmingham UK and in
Singapore where he was a Professor in a research Institute until retirement in 2011. He published over 100
Scientific Papers.
Ileana Montano
Mexico
Echoes Of Light 1
I am inspired by the hidden languages of the Earth, the forms and silences that emerge when light touches
matter. In Antelope Canyon, I found a place where geology becomes sculpture, carved by water, wind, and
deep time. By removing the canyon’s famous carmine hues, I sought to reveal light itself as the main
subject, its echoes inscribed in stone, its fleeting presence animating permanence.
This series asks: How does Earth remember and speak through light? In shadow and brightness, new
topographies emerge: veins, currents, landscapes, even bodies. Each photograph is an echo of the planet’s
memory, where the slow patience of stone meets the immediacy of illumination.
In the spirit of Planet Earth, Echoes of Light honors both the resilience and fragility of our world. These
images invite viewers to look closer, to feel deeper, and to recognize that what appears eternal is also
vulnerable. By seeing Earth in abstraction, we are reminded of its interconnected beauty and the urgency
of its preservation.
My practice moves between photography, painting, collage, and digital experimentation, always searching
for ways to reimagine how we see the world around us. I am drawn to the tension between fragility and
endurance, between darkness and light, and I often explore how these forces shape both human life and
the planet itself.
For me, photography is less about capturing what is visible than about revealing what lies beneath:
memory, transformation, and the silent languages of matter. By working in black and white, abstraction,
and altered perspectives, I create spaces where the familiar becomes symbolic and the landscape
becomes a mirror of our inner states.
Echoes Of Light 1
I am inspired by the hidden languages of the Earth, the forms and silences that emerge when light touches
matter. In Antelope Canyon, I found a place where geology becomes sculpture, carved by water, wind, and
deep time. By removing the canyon’s famous carmine hues, I sought to reveal light itself as the main
subject, its echoes inscribed in stone, its fleeting presence animating permanence.
This series asks: How does Earth remember and speak through light? In shadow and brightness, new
topographies emerge: veins, currents, landscapes, even bodies. Each photograph is an echo of the planet’s
memory, where the slow patience of stone meets the immediacy of illumination.
In the spirit of Planet Earth, Echoes of Light honors both the resilience and fragility of our world. These
images invite viewers to look closer, to feel deeper, and to recognize that what appears eternal is also
vulnerable. By seeing Earth in abstraction, we are reminded of its interconnected beauty and the urgency
of its preservation.
My practice moves between photography, painting, collage, and digital experimentation, always searching
for ways to reimagine how we see the world around us. I am drawn to the tension between fragility and
endurance, between darkness and light, and I often explore how these forces shape both human life and
the planet itself.
For me, photography is less about capturing what is visible than about revealing what lies beneath:
memory, transformation, and the silent languages of matter. By working in black and white, abstraction,
and altered perspectives, I create spaces where the familiar becomes symbolic and the landscape
becomes a mirror of our inner states.
Jill Sneidman
Coral Springs, FL
Point Atkinson Lighthouse
Very early I hiked out to the amazing lighthouse in Vancouver, BC. I was the only one there at sunrise.
There was a bald eagle on the top of the lighthouse which made it even more spectacular.
Not only does landscape photography push me to explore new places, but it gives me a push to get out
during those times of day that we are often holed up inside, such as a sunrise or sunset. Because it can
be more challenging to get out at those times, we often don't in our daily lives. But since these are the
times when the most interesting light can be found, landscape photography pushes us to set an alarm in
the morning rather than sleep in, or to stay out for (and even past) sunset. I have seen more sunrises and
sunsets thanks to shooting landscapes than I ever had before. Often a little physical discomfort is
involved, whether pushing through sleepiness or shivering in the cold, but it is almost always worth the
effort. And worth the adrenaline high when the LCD screen captures what you saw. That is truly
indescribable.
Point Atkinson Lighthouse
Very early I hiked out to the amazing lighthouse in Vancouver, BC. I was the only one there at sunrise.
There was a bald eagle on the top of the lighthouse which made it even more spectacular.
Not only does landscape photography push me to explore new places, but it gives me a push to get out
during those times of day that we are often holed up inside, such as a sunrise or sunset. Because it can
be more challenging to get out at those times, we often don't in our daily lives. But since these are the
times when the most interesting light can be found, landscape photography pushes us to set an alarm in
the morning rather than sleep in, or to stay out for (and even past) sunset. I have seen more sunrises and
sunsets thanks to shooting landscapes than I ever had before. Often a little physical discomfort is
involved, whether pushing through sleepiness or shivering in the cold, but it is almost always worth the
effort. And worth the adrenaline high when the LCD screen captures what you saw. That is truly
indescribable.
Maryam Ghasempour
Lahijan, Iran
Homesick Shadows
In the old courtyard, my parents seem to dissolve into the space around them, becoming part of the walls,
the ground, and the quiet air. It feels like home and memory breathing together, a shadow of the past that
stays with me.
Maryam (Nilu) Ghasempour Siahgaldeh (b. 1994) is a researcher, photojournalist, activist, and MFA
candidate in Photography at Kansas State University. Before immigrating to the U.S., she worked in
documentary photography in northern Iran, focusing on intimate moments in the lives of older women and
men and addressing social justice issues, including child labor.
Since moving to the U.S., Maryam has navigated the complexities of dual identity, shaping her perspective
as both insider and outsider. Her work documents American life while revisiting archival photographs to
explore women’s experiences in Iran and after migration.
Alongside documentary work, she experiments with abstraction, nature, and large-scale imagery, seeking
to expand her artistic language. As an emerging artist, she aims to establish her voice and be recognized
in the contemporary art world.
Homesick Shadows
In the old courtyard, my parents seem to dissolve into the space around them, becoming part of the walls,
the ground, and the quiet air. It feels like home and memory breathing together, a shadow of the past that
stays with me.
Maryam (Nilu) Ghasempour Siahgaldeh (b. 1994) is a researcher, photojournalist, activist, and MFA
candidate in Photography at Kansas State University. Before immigrating to the U.S., she worked in
documentary photography in northern Iran, focusing on intimate moments in the lives of older women and
men and addressing social justice issues, including child labor.
Since moving to the U.S., Maryam has navigated the complexities of dual identity, shaping her perspective
as both insider and outsider. Her work documents American life while revisiting archival photographs to
explore women’s experiences in Iran and after migration.
Alongside documentary work, she experiments with abstraction, nature, and large-scale imagery, seeking
to expand her artistic language. As an emerging artist, she aims to establish her voice and be recognized
in the contemporary art world.
Matt Lancaster
Boulder, CO
End of Days, 2020
What inspires "end of days, 2020" and all my entries into "Planet Earth" is the profound beauty and
vulnerability of our natural world. In this submission, I explore themes of environmental change,
impermanence, and our emotional connection to the land. I want to inspire both awe and urgency in
viewers of this work and to inspire them to reflect on nature’s resilience and fragility. My approach with
this work centers on atmospheric photography, using natural light and minimal digital manipulation to
capture this authentic fleeting moment. Through stark compositions of unfolding natural events such as
the apocalyptic mood of this smoky landscape, I aim to create images that prompt contemplation about
our place within the planet’s unfolding story and action to help preserve this planet.
Through vivid landscapes and intimate studies of nature, my entries into the "Planet Earth" series reflect
the extraordinary diversity and delicate balance of our world. From ice-encrusted arctic landscapes and
resilient high-altitude deserts to sun-scorched smoky forests and serene fjords, these photographs
celebrate the beauty, complexity, and vulnerability of the environments we inhabit and steward for future
generations. Each image invites viewers to pause, reflect, and reconnect with the natural world—inspiring
awe, admiration, and a sense of responsibility. In a time of rapid environmental and cultural
transformation, this work is both a tribute to Earth’s natural wonders and a call to cherish and protect our
only home.
End of Days, 2020
What inspires "end of days, 2020" and all my entries into "Planet Earth" is the profound beauty and
vulnerability of our natural world. In this submission, I explore themes of environmental change,
impermanence, and our emotional connection to the land. I want to inspire both awe and urgency in
viewers of this work and to inspire them to reflect on nature’s resilience and fragility. My approach with
this work centers on atmospheric photography, using natural light and minimal digital manipulation to
capture this authentic fleeting moment. Through stark compositions of unfolding natural events such as
the apocalyptic mood of this smoky landscape, I aim to create images that prompt contemplation about
our place within the planet’s unfolding story and action to help preserve this planet.
Through vivid landscapes and intimate studies of nature, my entries into the "Planet Earth" series reflect
the extraordinary diversity and delicate balance of our world. From ice-encrusted arctic landscapes and
resilient high-altitude deserts to sun-scorched smoky forests and serene fjords, these photographs
celebrate the beauty, complexity, and vulnerability of the environments we inhabit and steward for future
generations. Each image invites viewers to pause, reflect, and reconnect with the natural world—inspiring
awe, admiration, and a sense of responsibility. In a time of rapid environmental and cultural
transformation, this work is both a tribute to Earth’s natural wonders and a call to cherish and protect our
only home.
Matt Lancaster
Boulder, CO
Primordial 2, 2025
My work is inspired by the hidden patterns and quiet mysteries of the natural world. In "primordial 2, I
explore the intricate forms and textures created by algae on an alpine lake, inviting viewers to reflect on
the interconnectedness and complexity of life beneath the surface. Themes of emergence, transformation,
and the unseen connect my images, encouraging a sense of wonder and contemplation. I want viewers to
slow down, observe, and find meaning in nature’s details. My practice utilizes close-up photography, using
natural light and careful composition to reveal the abstract beauty within organic environments.
Through vivid landscapes and intimate studies of nature, my entries into the "Planet Earth" series reflect
the extraordinary diversity and delicate balance of our world. From ice-encrusted arctic landscapes and
resilient high-altitude deserts to sun-scorched smoky forests and serene fjords, these photographs
celebrate the beauty, complexity, and vulnerability of the environments we inhabit and steward for future
generations. Each image invites viewers to pause, reflect, and reconnect with the natural world—inspiring
awe, admiration, and a sense of responsibility. In a time of rapid environmental and cultural
transformation, this work is both a tribute to Earth’s natural wonders and a call to cherish and protect our
only home.
Primordial 2, 2025
My work is inspired by the hidden patterns and quiet mysteries of the natural world. In "primordial 2, I
explore the intricate forms and textures created by algae on an alpine lake, inviting viewers to reflect on
the interconnectedness and complexity of life beneath the surface. Themes of emergence, transformation,
and the unseen connect my images, encouraging a sense of wonder and contemplation. I want viewers to
slow down, observe, and find meaning in nature’s details. My practice utilizes close-up photography, using
natural light and careful composition to reveal the abstract beauty within organic environments.
Through vivid landscapes and intimate studies of nature, my entries into the "Planet Earth" series reflect
the extraordinary diversity and delicate balance of our world. From ice-encrusted arctic landscapes and
resilient high-altitude deserts to sun-scorched smoky forests and serene fjords, these photographs
celebrate the beauty, complexity, and vulnerability of the environments we inhabit and steward for future
generations. Each image invites viewers to pause, reflect, and reconnect with the natural world—inspiring
awe, admiration, and a sense of responsibility. In a time of rapid environmental and cultural
transformation, this work is both a tribute to Earth’s natural wonders and a call to cherish and protect our
only home.
Michele Miller
Tucson, AZ
Pointing to Venus
Here is the luck of catching the "Evening Star" Venus, above a saguaro cactus, just before dusk in the
Sonoran Desert in Tucson, Arizona. I've lived here for over 20 years, and the landscapes featuring these
giants—which grow nowhere else on the planet—have inspired much of my work. This saguaro is at least
16 feet tall, and it was 50 years before it sprouted its first arm. These denizens of the desert can live up to
200 years—the oldest ones are extremely humbling.
A child of a mobile Air Force family, I grew up without the understanding of belonging from any one part of
the country—until I landed in Tucson on a vacation after college in Wisconsin. I now know the immediate,
deep-in-the body impression I felt then, and still do, is called 'querencia'—from the Spanish verb "querer": to want, desire, love—which implies a strong, instinctual sense of place, where one feels at home, safe, and full of peace. This is Arizona’s Sonora Desert for me, and I have been moved to make thousands of pictures here, particularly during the golden hours of sunset. I am inspired by Ansel Adams' range of whites to blacks, and strive for that sensibility in my own work.
Pointing to Venus
Here is the luck of catching the "Evening Star" Venus, above a saguaro cactus, just before dusk in the
Sonoran Desert in Tucson, Arizona. I've lived here for over 20 years, and the landscapes featuring these
giants—which grow nowhere else on the planet—have inspired much of my work. This saguaro is at least
16 feet tall, and it was 50 years before it sprouted its first arm. These denizens of the desert can live up to
200 years—the oldest ones are extremely humbling.
A child of a mobile Air Force family, I grew up without the understanding of belonging from any one part of
the country—until I landed in Tucson on a vacation after college in Wisconsin. I now know the immediate,
deep-in-the body impression I felt then, and still do, is called 'querencia'—from the Spanish verb "querer": to want, desire, love—which implies a strong, instinctual sense of place, where one feels at home, safe, and full of peace. This is Arizona’s Sonora Desert for me, and I have been moved to make thousands of pictures here, particularly during the golden hours of sunset. I am inspired by Ansel Adams' range of whites to blacks, and strive for that sensibility in my own work.
We extend our deepest gratitude to the photographers whose work brought Planet Earth to life. Their vision and dedication made it possible to see our world anew—through perspectives as diverse as the landscapes they captured. We also thank our audience, whose engagement and curiosity give meaning to this exhibition.
At Decagon Gallery, it is our mission to create spaces where art can both inspire and connect. Planet Earth reminded us that photography is not only a way of seeing but also a way of caring: each image a gesture of attention, each frame an act of preservation. We hope that this exhibition, and the pages within, continue to spark wonder, reflection, and a renewed commitment to the extraordinary planet we call home.
cover photo: Dimitry Papkov
View the video
photo: Pablo Andres Velasquez Franco
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