A Guide To May 2024 Photography Festivals & Exhibitions

EXPOSED Torino Foto Festival, Biel/Bienne Festival of Photography, Beate Gütschow and Laure Winants at Foto Arsenal Wien, Photo London, CONTACT Photo Festival and Captured Earth at MoCP are among the photography events to visit this month.

Turin, Italy / 2 May – 2 June

Directed by Menno Liauw (founder and director of Futures) and Salvatore Vitale (visual artist, senior lecturer at the Lucerne University of Applied Sciences and Arts, co-founder of Yet Magazine, artistic director of Futures and PhMuseum Mediae Head Professor), the new International Festival of Photography will bring temporary exhibitions and a wide range of activities to Turin’s main cultural institutions and independent realities.

Under the theme New Landscapes, the inaugural edition of Exposed will present the works of a vast array of contemporary artists such as Max Pinckers, Simone Niquille, Mónica de Miranda, Lebohang Kganye, Fin Serck-Hanssen, Erin O’Keefe, Hiền Hoàng, Paolo Pellion di Persano, Graeme Arnfield, Felix Gonzalez-Torres, Anna Gaskel, Larry Johnson, Sherrie Levine, Tracey Moffat, Collier Schorr, Wolfgang Tillmans, The Otolith Group, Fabio Barile, Mathieu Asselin, Dongkyun Vak and Kalina Pulit. An extended program further broadens the scope of the festival, managing to involve the cultural landscape of the entire city.

With collaboration being a key aspect of the festival’s artistic direction, a spin-off of the Sprint Art Book Fair will also be part of Exposed, along with Exposed Photomatch: A Completely Different Portfolio Review – the inclusive, democratic and unconventional format of portfolio reviews created by Fotofestiwal Lodz and now extended to the Italian festival.

The program of talks will follow four independent lines of research: ethics and politics of representation, images and technology through AI, circulation and photographic industry, and a series of artist talks titled In Transition.

Find out more about the expansive program on their website.

Biel/Bienne, Switzerland / 3 May – 26 May

The 27th edition of the Biel/Bienne Festival of Photography examines the banal and the familiar as a form of resistance to the proliferation of sensationalist images constantly imposing themselves in our lives. Directed by Sarah Girard and coordinated by Estelle Moser, the event presents a generation of emerging photographers who subtly shed light on phenomena transforming our environment and our daily life.

Among the exhibitions dislocated in the city are Apostrophe by Brigham Baker, Algues Maudites, A Sea Of Tears by Alice Pallot, Movement In The Alpine Landscape by Pedro Rodrigues and Notre Pain Quotidien by Lalie Thébault Maviel. The program involves events such as the projection of Blue by Derek Jarman, Palette(s), a performance by Cédric Gagneur & Marc Oosterhoff and My name is Fuzzy, a concert and performance with Bastien Bron and Léopoldine HH tackling everyday themes against a backdrop of disco music and casualness. Plus, a series of talks will include a discussion between Urs Stahel and Brigham Baker.

Visit their website to discover more.

Wien, Austria / 22 March – 23 June

The new center of photographic images and lens-based media in Austria is presenting Beate Gütschow and Laure Winants’ solo shows curated by Felix Hoffmann, offering contrasting yet complementary perspectives on the environmental challenges facing our world today.

Gütschow’s Resistance, Flood, Fire, Resistance, capturing scenes of protest crowds and the aftermath of disasters like floods and fires in Germany, invites viewers to reconsider their perceptions of catastrophe. Rather than sensationalizing these events, Gütschow’s images provoke a quieter, more contemplative response, encouraging both emotional engagement and critical reflection. In contrast, Winants embarks on a multidisciplinary expedition to the Arctic, where she explores the subtle interplay of light, ice, and water. From A Tongue We Are Losing delves into the sensory experiences of this remote environment. Her experimental series, Time Capsule, further immerses viewers in the otherworldly beauty of the region, exploring the phenomena of light and color in the Arctic.

Find out more on Foto Arsenal Wien’s website.

London, United Kingdom / 16 May – 19 May

Under Kamiar Maleki’s new direction, the British fair is building a strong international list of galleries featuring many new and returning names. Curated by the critic and author Charlotte Jansen, the Discovery section will be dedicated to emerging photographers and galleries, among whom Palm* Studios (London) and Deák Erika Galéria (Budapest).

Photo London’s presenting partner Belmond will bring the works of artists such as Durimel, Coco Capitán, Jack Davison, Jeano Edwards, Letizia Le Fur, François Halard, Rosie Marks, Chris Rhodes and Thomas Rousset. Among the highlights of the Public Program, the Prix Pictet Lounge will host conversations led by the Executive Director Isabelle von Ribbentrop, bringing together inspiring photographers who have previously won, or been shortlisted for the award.

Discover more on Photo London’s website.

Toronto, Canada / 1 May – 31 May

The 28th edition of the festival features lens-based and mixed-media works in exhibitions, public art installations, and commissioned projects at museums, galleries, and public spaces across the Canadian city. Its events will explore topics of anti-colonial practices, community-building, Afro-futurism, crip liberation, ceremony, revolution, and personal and collective memory, addressing violent gaps in historical archives.

The program involves 35 public artist talks, workshops, portfolio reviews, and initiatives such as the Photobook Lab, the Sustenance Artist Mentorship Residency, and the Constellation Public Art Guest Curator Program. Held at the CONTACT office in downtown Toronto, the three-day workshop Structure and Sequence led by artists Cristian Ordóñez and Kate Schneider with guest photographers, editors, and designers like Tiffany Jones, Melissa Pallini, Martina Zanin and Shane Rocheleau will guide participants in finding a clear direction for their photobooks, to be then proposed to grants and publishers.

Visit CONTACT Photo Festival’s website to discover more.

Chicago, USA / 24 May – 18 August

Curated by Kristin Taylor, Captured Earth shows how artistic visual languages can express connection to the earth and its magnitude. Exhibited works range from site-specific performances, such as Tarrah Krajnak’s documentations of her nature-centered rituals using rocks and plant material, or Alan Cohen’s walking meditations on the equator. Other artists employ natural elements to create experimental process-based works, such as Jeremy Bolen’s prints produced from film developed in a polluted river or Barbara Crane’s photographic transfers of tree bark, leaves, and fungi she gathered at her Michigan cabin retreat.

Discover the complete list of exhibited artists on MoCP’s website.

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Also open this month:

Fotografia Europea 2024 / Reggio Emilia, Italy / 26 April – 9 June

Directed by Tim Clark, Walter Guadagnini and Luce Lebart (photography historian, exhibition curator), the 19th edition of the Italian festival attempts to represent nature by exploring the interconnection between concealment and discovery. Exhibitions include Susan Maiselas, Helen Sear, Yvonne Venegas, Arko Datto, Matteo De Mayda, Jo Ractliffe, Natalya Saprunova, Terri Weifenbach, Lisa Barnard, Bruno Serraloungue, Karim El Maktafi, Silvia Infranco, Silvia Rosi, Marta Bogdańska and Michele Sibiloni. Contaminations, the 11th edition of Giovane Fotografia Italiana, will showcase the works of the 7 finalists of the Luigi Ghirri Prize.

Circulation(s) 2024 / Paris, France / 6 April – 2 June

Created and organized by the Fetart collective, every year Circulation(s) selects young European photographers questioning the boundaries between photography and contemporary art. For its 14th edition, Centquatre-Paris will showcase 24 artists whose works are characterised by a predilection for fluidity and experimentation. A Focus exhibition is dedicated to Ukraine, presenting the series of four photographers from this territory.

Liquida Photofestival 2024 / Turin, Italy / 2 May – 5 May

In the framework of Paratissima and curated by Laura Tota, the third edition of Liquida Photofestival brings together emerging authors and professionals under the theme Rebirth, as an invitation to consider one’s existence as a second possibility, an attempt to investigate the infinite possible declinations that life can confront us with beyond the expectations imposed by social canons.

PHotoESPAÑA 2024 / Madrid, Spain / 29 May – 29 September

Under the new direction of María Santoyo, PHotoESPAÑA aims to answer that question with one possible response: Perpetuum mobile. The main program of exhibitions includes artists like Rehab Eldalil, Seif Kousmate, Amina Kadous, Nadia Bseiso, Wafaa Samir, Marcos Rico, Marie Høeg and Bolette Berg, Edward Burtynsky, Fina Miralles, Anastasia Samoylova and more. The festival also includes a series of exhibitions as part of the OFF program.

Fotofestival Lenzburg / Lenzburg, Switzerland / 25 May – 23 June

Transforming its host town into an open-air photo gallery with 20 exhibitions, photobooks corners in the bars, and a rich program of events including portfolio reviews, workshops, and talks with authors and experts, the Fotofestival Lenzburg’s new edition will be focused on theme Synthesis.

Revela’T Festival 2024 / Vilassar de Dalt, Spain / 18 May – 16 June

In this 12th edition, the festival invites visitors to observe, explore, and represent identity from various perspectives, during a month-long celebration of analog photography that includes exhibitions, markets, workshops, portfolio reviews, residencies and many other activities, bringing together in the same space relevant and emergent artists, some of them being exhibited for the first time.

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Check out our festivals and exhibitions page to get a complete view of what’s coming up on the photography calendar over the next few months.

In pictures: the journey of an up-and-coming model in NYC

In pictures: the journey of an up-and-coming model in NYC

Shot during New York Fashion Week, the photo series and short film uncovers the day-to-day of an aspiring Korean-American model’s life

17April 2024

Few professions require being photographed as much as being a model. Yet, despite how much of their working lives are spent in front of a camera, it is rare for them to be captured as simply themselves, with no story or character to portray, and no professional makeup and styling. In Minseo, a new photo series and mini-film by photographer Jack Newton and filmmaker Emily Jarpel, the camera is directed purely at a model’s personal life, following up-and-coming Korean-American model Minseo Angelica Kim as she navigates the fickle world of the modelling industry in 2024.

New York-based Newton originally came up with the idea after photographing models during fashion week. “I was photographing backstage at this runway show and I realised that I was mostly interested in the in-between moments. I figured we probably had enough photographers shooting the shows, so I wanted to see what it’s like for models when they’re not on set,” explained Newton. “I reached out to Emily because I’d seen her film Lucky Fish and felt like we shared an appreciation for a quieter approach. After discussing the project, we realised that we also have similar feelings about the modelling industry.”

Jampel, who has also worked as a model in the past, wanted to capture a more intimate perspective of modelling life. “I immediately thought of films like Frances Ha, The Assistant and Personal Shopper – films about young women and working professionals living in big cities, and the loneliness and mundanity of that experience, and loved the idea of capturing a profession like modelling from that perspective,” she explains. To find their muse, Jampel approached casting from what she described as an “instinctive place”. After Minseo caught her eye at a casting she attended as a model herself, Jampel introduced her to Newton and together they decided she would be the project’s muse. “Minseo has this innate ability to be confident while also vulnerable,” explains Newton. “Those qualities are important to me and something I look for when casting projects.”

Newton – who, as the child of a model and fashion photographer, describes his time on set as akin to daycare – tapped into his mother’s experiences as a model when capturing Minseo. “My mom often felt like the photographs did not always reflect who she was as a person,” he explains. “She taught me the importance of creating space for people to bring their own experiences into shoots.” Channelling those lessons, Newton’s photos shine a light on Minseo’s inner world, highlighting the moments that usually go unnoticed but likely take up most of a model’s time – including taking the subway to and from jobs, waiting around on set and getting ready for castings. 

In the film, Minseo, who recently graduated from university with a degree in psychology, discusses taking a leap of faith and moving to New York City to pursue an uncertain career. For Jarpel, it was important to capture the small moments where someone is at a “critical juncture” in their personal life and career. “This film is as much about modelling as it is about capturing the life of a young person after graduation who is trying to figure themselves out,” Jampel explains. As someone who recently decided to quit her full-time job to dedicate all her time to filmmaking, Minseo’s journey of navigating contradictions was one she understood and related to. “I really connected with being at this crossroads,” she says, “and deciding between a more structured, familiar career path or this more unconventional, unstable, and at times incredibly frustrating career path of modelling, which feels simultaneously scary but also new, exciting and filled with possibility.” Together with the images by Newton, the mini-film studies the tenderness of these transitional periods, offering nuance that your average ‘day in the life of a model’ videos do not. 

Watch the film below and head to the gallery above to see the images.

Senior Printmakers 2020

Senior Printmakers 2020
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Xiaomi 14 Ultra review: the photographers’ choice

Xiaomi 14 Ultra review: the photographers’ choice

The Xiaomi 14 Ultra isn’t just ‘another camera phone’, it’s the first bleeding-edge camera phone to get a general release in the West. That isn’t to say Samsung Galaxy, Apple iPhone and Google Pixel handsets don’t also have excellent cameras – they do – but they don’t push the envelope when it comes to camera hardware quite this hard.

Packing the newest 1-inch Sony sensor for mobile – also found in the China-only Oppo Find X7 Ultra – on paper, the Xiaomi 14 Ultra’s main camera has more in common with pro-grade compacts like the Sony RX-100 than some smartphones. This is especially true when you consider its variable aperture, allowing you to control background blur with an adeptness that lacks in so much of the competition.  

The 14 Ultra also supports the best camera grip accessory I’ve ever used, complete with a customisable control wheel, a two-stage shutter button, a dedicated video button, and a battery boost. I’ve been using it with the Ultra and can confirm that it transforms the flagship into a quick-fire camera first, and a phone second. 

But what a star of a phone that is, even in the face of excellent alternatives like the Honor Magic 6 Pro and Samsung Galaxy S24 Ultra. So does that mean you should spend iPhone 15 Pro Max levels of cash on Xiaomi’s latest superphone? For the right owner, yes, as I’ll explain in this Xiaomi 14 Ultra review…

Xiaomi 14 Ultra Review: price & availability

The Xiaomi 14 Ultra is ultra-expensive. Available now in Europe and the UK for £1,299, which converts to roughly $1,625 in the US and $2,470 in Australia – where the phone isn’t officially sold – it’s pricey yet a good deal. 

Unlike the iPhone, which comes available in multiple storage configurations, the Xiaomi 14 Ultra only ships with 512GB storage, and it actually undercuts Apple’s 512GB iPhone 15 Pro Max with the same capacity in terms of asking price.

If you want to pick up the Photography Kit, which adds a battery boost and camera controls, that will set you back an additional extra £179 (circa $230, AU$370).

Xiaomi 14 Ultra review: design & display

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

The Xiaomi 14 Ultra isn’t a huge phone thanks to a relatively typical screen size of 6.73-inches, as found in many of the other best phones on the market today. Giving it a smaller footprint than alternatives like the Samsung Galaxy S24 Ultra, it isn’t too much of a stretch for thumbs. 

At 9.2mm thin, the Xiaomi 14 Ultra is chunkier than the key competition, and that doesn’t include that camera bump which adds serious heft. This collection of four cameras is framed by a textured track (reminiscent of a camera’s aperture ring) and a gold accent, making the camera clearly the star of the show here.

From the front, the Xiaomi 14 Ultra has a flat display with a curved screen feel, sort of like an oversized Apple Watch (not an Apple Watch Ultra). The screen slopes into the metal frame, which in turn angles to create substantial, flat sides for a secure grip. This curves into a vegan leather back, and the whole phone feels premium, though with no tapering metal sides it also feels thicker than some curved screen competition.

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

The Xiaomi 14 Ultra’s screen is an OLED panel with 522 pixels in every inch, so it’s relatively expansive and everything looks very sharp. Its peak brightness of 3000 nits shines through in high dynamic range (HDR) mode, and when you’re navigating through your day, you’ll be enjoying nearer 1000 nit brightness – so I certainly didn’t have any trouble viewing It outdoors, even in direct sunlight.

Indoors, visuals get comfortably dim, and with 1,920Hz PWM dimming, Xiaomi is ticking those eye-care boxes. With its adaptive 1-120Hz refresh rate, gliding through menus is a smooth experience, and Amazon, Netflix and YouTube HDR support and 12-bit colour depth mean whether watching your own videos or streaming content on the 14 Ultra, it’s a great experience.

If you aren’t using some of the best headphones, the stereo speakers pump out loud, full sound. When gaming or holding the phone in landscape, they are relatively easy to cover up, but that caveat aside, the screen and speaker mix is excellent.

Xiaomi 14 Ultra review: performance & battery

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

Powered by a Snapdragon 8 Gen 3 from Qualcomm, the Xiaomi 14 Ultra is flagship through and through, and with 16GB RAM and 512GB of storage, whether multitasking or filling it up with 8K video and 30GB+ games like Genshin Impact, it’s made to last and perform very well.

While it can tear through top-tier games respectably, the Xiaomi 14 Ultra is not one of the best gaming phones. In standard power mode, it applies a fair bit of throttling when playing demanding titles, which results in lag. You really need to turn on Game Boost (performance mode) to unlock the 8 Gen 3’s potential and, in turn, smooth gameplay. 

As mentioned, the speakers are also easy to cover up, and ergonomically the camera bump makes for an unwieldy grip when holding the phone in landscape. So while the 14 Ultra does the job for gaming, you can get more gaming clout for less in phones like the Redmagic 9 Pro, provided you don’t mind taking a huge hit on that camera.

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

A couple of other factors hold the Xiaomi 14 Ultra back from being near-flawless. The first is a lack of eSIM support, a feature that’s fast become a staple of flagship phones. Xiaomi’s HyperOS on top of Android 14 is also frustrating in some areas.

The optional Lock Screen Carousel, which displays articles on your lock screen is also opt-out when it comes to advertising. Personally, I don’t want my £1,299 phone serving me ads as I come to unlock it. HyperOS also tries to push Xiaomi’s App Mall over the Google Play Store, and requires you to accept cookies for something as simple as changing a wallpaper.

So, while the Xiaomi 14 Ultra with HyperOS is smooth and stable day to day, Xiaomi undermines what it gets right with overbearing elements.

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

With a 5,000mAh battery, on paper the Xiaomi 14 Ultra should last for ages, and it comfortably makes it through a day of typical use. Though I struggled to get through a day with long bouts of either photography or gaming, so this isn’t a battery champion like the Honor Magic 6 Pro. 

The 14 Ultra charges at 90W when using the wired charger in the box and takes around 35 minutes to fully charge. If you pick up a compatible Xiaomi wireless charger, you can hit 80W wireless speeds, which is impressively fast.

Xiaomi 14 Ultra review: cameras

The 14 Ultra is the first phone to launch in the West with a second-generation 1-inch camera sensor (the LYT-900 from Sony). Xiaomi doesn’t stop there though, including a variable aperture that goes from f/1.63 to f/4.0. Part of a quad-camera system, all four of its rear cameras are 50-megapixel Sony sensors, and this translates to a seriously consistent experience across zoom ranges.

The secondary cameras include an ultra-wide lens at 12mm (0.6x zoom), a telephoto lens at 75mm (3.2x zoom) and a periscope lens at 120mm (5x zoom). All of these are matched with the same Sony IMX858 sensor, and feature wide apertures to deliver consistently competitive performance, whichever camera you’re using.

A photo taken on the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

All four cameras also focus close to subjects, adding a huge amount of versatility to macro shots and showing up competitor cameras like the iPhone 15 Pro Max’s tetraprism periscope zoom.

Xiaomi’s camera processing builds upon the 14 Ultra’s powerful cameras with the help of Leica tuning. When taking photos, you can choose between Leica Authentic or Vibrant for a zingy or subdued look, and while this was clumsy in the past on phones like the Xiaomi 13T, photo quality from the 14 Ultra is better than anything I’ve ever seen from Xiaomi.

Leica’s processing gives shots a classical look. While the Google Pixel 8 Pro and Vivo X100 Pro capture plenty of shadow detail, the 14 Ultra leans toward contrast while still capturing plenty of texture.

The main camera’s party trick – that variable aperture – creates versatility when shooting in bright and dark scenes, making it the go-to camera in challenging environments. While I expected great things from the primary camera, I was most impressed by the 75mm and 120mm telephoto cameras, both able to take crisp shots of subjects far away and in most lighting conditions.

More than just a stills camera, the Xiaomi 14 Ultra’s video looks excellent. The rear camera can shoot at up to 8K at 30fps resolution or 4K at 120fps, and the front camera caps out at 4K at 60fps. While the iPhone is still the video winner for anyone who wants to shoot ProRes clips, the Xiaomi 14 Ultra’s variable aperture, out-of-the-box manual controls, and Log capture all help it compete.

Xiaomi 14 Ultra review: photography kit

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

Priced at £179, the Xiaomi 14 Ultra Photography Kit is expensive, but for a certain kind of photographer, it isn’t hyperbolic to say that it could be priceless, and the difference between capturing a shot and missing it.

On a practical level, the kit adds a 1,500mAh battery, zoom lever, two-stage shutter release, 67mm filter adapter, video button, and a custom dial that can control aperture exposure and other aspects of shooting. There’s also a lanyard which can be looped into the grip portion of the kit. 

Oftentimes, while testing the phone, the lanyard would be hanging out of a pocket, and I would loop my hand in it, pull the phone out gripping the camera, press the shutter release and take a shot in moments. It’s so much less fiddly than using a touchscreen.

Xiaomi 14 Ultra review: verdict

A photo of the Xiaomi 14 Ultra

(Image credit: Basil Kronfli)

The Xiaomi 14 Ultra’s camera is so much more impressive than anything else available that it’s easy to argue away some of the small gripes found here. The camera spec is simply just so far ahead of the competition, so if photography is your main priority then it’s an obvious choice.

The biggest issues with this phone are a lack of eSIM support and Xiaomi’s overbearing HyperOS, but if neither are deal-breakers for you then the 14 Ultra is a premium, powerful smartphone that has a winning screen, plenty of storage, and delivers day-long battery life. 

If you’re after an incredibly capable, versatile camera phone, then nothing can beat it. While it’s certainly expensive, it’s worth every penny. 

Also consider

The obvious alternatives to the Xiaomi 14 Ultra are the iPhone 15 Pro Max for iOS users, and the Samsung Galaxy S24 Ultra or Google Pixel 8 Pro if you’re looking for an Android phone. Out of all three, the Pixel 8 Pro’s camera is most comparable to that of the Xiaomi 14 Ultra when it comes to reliably capturing a great shot time after time.

If you’re looking to save some cash, the excellent OnePlus 12 is another winning alternative thanks to its versatile camera and Hasselblad photo processing. And if you like the look of Xiaomi’s Leica features but don’t want to spend Ultra money, the standard Xiaomi 14 could fit the bill.

Renowned photographer Sartore brings ‘Photo Ark’ to Morrill Hall

Renowned photographer Sartore brings ‘Photo Ark’ to Morrill Hall
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A permanent exhibition at the University of Nebraska State Museum will feature photographer and Nebraska native Joel Sartore’s work to document every species living in the world’s zoos, aquariums and wildlife sanctuaries.

The “National Geographic Photo Ark” exhibition will open to the public April 19. Sartore started the Photo Ark project in his hometown of Lincoln in 2006. Since then, the world-renowned photographer and National Geographic Explorer has traveled the world in his quest to create a photo archive of global biodiversity that ultimately will feature portraits of more than 25,000 species of birds, fish, mammals, reptiles, amphibians and invertebrates.

The exhibition, comprising digital displays of Sartore’s photos and videos, will be on Morrill Hall’s first floor. A dedicated seating area will allow visitors to view the images and hear Sartore explain his mission and share behind-the-scenes details such as the challenge of getting animals to stay in one place long enough to photograph them.

It is a unique, long-term relationship with Sartore, whose commitment to wildlife conservation reflects the museum’s mission well, said Susan Weller, the museum’s director.

“It’s incredibly exciting to bring the Photo Ark to Morrill Hall,” Weller said. “Joel’s stunning photographs remind us of the interconnectedness of all life. We are looking forward to bringing this message of conservation to Joel’s hometown.”

The Photo Ark has taken Sartore to zoos, aquariums and wildlife sanctuaries around the world. He has produced several books on the theme and is a regulator contributor to National Geographic magazine. Sartore’s work also has been seen in Audubon magazine, Life, The New York Times and Sports Illustrated. His work has been covered by National Geographic’s Explorer, NBC Nightly News, NPR’s Weekend Edition, Fresh Air with Terry Gross and the PBS documentary series “Rare: Portraits of the Photo Ark.” He also is a regular contributor to the CBS Sunday Morning Show.

Benefactors of the Morrill Hall exhibit of the Photo Ark are Del Lienemann Jr. and his wife, Mary.

The National Geographic Photo Ark is a multiyear effort to raise awareness of and find solutions to some of the most pressing issues affecting wildlife and their habitats. In addition to documenting every species living in the world’s zoos, aquariums and wildlife sanctuaries, the project aims to inspire action through education and help protect wildlife by supporting on-the-ground conservation efforts.

No matter its size, each animal is treated with the same amount of affection and respect. The results are portraits that are not just stunningly beautiful, but intimate and moving.

“It’s the eye contact that moves people,” Sartore said. “It engages their feelings of compassion and a desire to help.”

Sartore holds a bachelor’s degree in journalism from the University of Nebraska–Lincoln and lives in Lincoln.