In 2001 while holidaying in Barcelona, American traveler Tom Sponheim bought for $3.50 at the local flee market Els Enchants an envelope with negatives from an unknown photographer. After the negatives were exposed few years later, amazing photographs from Barcelona’s life in the 1960s came to light. Fascinated by their quality Tom Sponheim decided to try to find their mystery author and in 2010 he created the Facebook page – ‘Las Fotos Perdidas de Barcelona’. Though many people identified themselves in the photos, still the identity of the original photographer remained unknown.
Until 2017 when Begoña Fernández thanks to hours of painstaking research in the archives eventually identified the photographer as Milagros Caturla. Actually, Milagros Caturla was not a professional photographer but a passionate amateur who used to ramble Barcelona streets in her free time catching the everyday life of her fellow- citizen. She was well known that time and had won many photo contests before her death in 2008.
So, will Milagros Caturla follow the destiny of Vivian Maier’s discovery? According to the words of Mr Sponheim the answer is no. “The images are not for sale. My main purpose is to make sure that these images are preserved for the people of Barcelona and for any of the families affected.”
The series ‘Natural Findings‘ by Cheryle St. Onge “explore the curiosity and awe of our early grasp of nature; a paper wasp nest that appears dropped from Mars, the frog egg masse that on close inspect, possible through a photograph, becomes a gelatinous scoop of stars, a constellation of black dots, soon to be tadpoles. The photographs become both the shared means of a longer examination and the conduit of our own private recollection of nature.”
Japanese photographer Masahisa Fukase made his obscure masterpiece ‘Ravens’ (‘Karasu’) between 1975 and 1982 as a way of overcoming a personal emotional trauma following a divorce with his second wife Yōko Wanibe. Though the photographs at first sight are a personal lament reflecting the darkened vision of the photographer himself, they are regarded by many as the most important body of work to come out of postwar Japan, and still its imagery continues to inspire artists and writers today.
Masahisa Fukase – Ravens
The project originated as an eight-part series for the magazine Camera Mainichi and these photo essays reveal that Fukase experimented with multiple exposure printing and narrative text as part of the development of the Karasu concept. The first book was published in 1986, subsequent editions were published in 1991 and and 2008, and in May, 2017 a new one published by Mack Books.
“Ravens is one of the defining bodies of work in the history of photography and a high point in the photo book genre. This accumulation of accolades, and the passing of time, have obscured much of the fascinating detail which explains the artist’s pre-occupation with this motif throughout his work. It was not simply a reflection of the existential angst and anhedonia he suffered throughout his life but manifested in artistic self-identification with the raven and ultimately spiralled into a solitary existence and artistic practice on the edge of madness…” Tomo Kosuga from his essay Cries of Solitude 
When she was still a teenager, Dorothy Monnelly discovered in the attic of their home, a box of her mother’s poems. They were written between 1920 – 1945 and left as her “creative” legacy for her daughters.
The series consists of floral stills and landscape photographs and is published as a photo book “For My Daughters”.
Dorothy Kerper Monnelly – For My Daughters, Floral Stills
“I have always treasured my mother’s poetry. When reading it recently, she gave me the idea of combining my images with her poetry to create a conversation back and forth about the idea expressed in each poem. She felt that we would understand each other, and writes in a poem to her daughters:
The pattern born within my mind
Is latent in their own. My wisdom
May not be profound, but they will recognize
Its likeness in their blood and bone.
It has been said that my photography shows the extraordinary in the ordinary; the same comment has been made regarding my mother’s poetry.”
Dorothy Kerper Monnelly – For My Daughters, Landscapes
Famous Austrian photographer “may have frequently photographed well-dressed people and many figures of the fashion world, but to call her a fashion photographer would be a mistake”, according to John P. Jacob, the McEvoy Family curator for photography at the Smithsonian American Art Museum. “Whether photographing festivals or artists’ studios, on films sets, the street, or the fashion runway, what distinguishes Morath’s photography is an unerring eye for life’s brilliant theatricality”
Spiros Zervoudakis’ series ‘Trap‘ – “This is my attempt to build visual bridges between two parallel worlds of fantasy and reality.
The enclosed undersea world is dreamy. Aquatic creatures (mythical creatures) and humans coexist in alien, utopian landscapes. They live beyond the limits of imagination and develop their actions in the dark liquid realm.
The light—absolute and whitewashed—delineates boundaries. Heroes emerge from total darkness conspiratorially. Lightning strikes the intruder; the unsuspecting viewer is now inadvertently involved.
The man in the reflection is free from any presumptions about owning this world.
Elicited dreams mutate into extraterrestrial nightmares.
The project started in 2008 in the Amsterdam aquarium and continued in the following years in the aquariums of Copenhagen, Frankfurt and Heraklion.”
“Although all life comes to an end, the end is at the same time a beginning of the transition into something new. Small plants that exist by our side and we hardly take notice of also contain within themselves the majestic nature, and revolve their life force just the same. They are filled with a variety of expressions and dynamism that cannot be seen with the naked eye, and allow you to sense the mystery of the formation of life.”
“My project consists of inserting some primates – they share with humans up to almost 99% of the DNA-in safety capsules that will regenerate a form of primordial life, a future day, after the extinction of the breed human.”