Babushka Aleksandra, at the home of her daughter Elena at a village between Saint Petersburg and Moscow, near the city of Bologoye. Aleksandra warms up and wears the famous or typical Russian Valenki, felt boots.

Makiko Sugawa is an artist, an illustrator. Because of a cancer, she lost her left leg completely, well above the knee. And in fact, her prosthesis must be tied to her waist with a belt. She knows that clothes and fashion can have a big impact on how a woman feels about herself. So if a woman with a disability can be "stylish", other girls in the same condition can follow her example. This conviction led her to parade on the catwalks using Fumio Usui's splendid creations.

Studio portrait with natural light.

Dancer, actress, photographer. In my portraits, I am looking for honesty and vulnerability. I believe that vulnerability makes us nicer human beings and that this makes the world a little more friendly and more understanding. People who show themselves vulnerable give the other the confidence that they themselves may be who they are. I am most fascinated when I can see opposite qualities of a person at the same moment.

This series had serendipitous beginnings. I found a print of Whistler’s painting, and it started me thinking about the genre of portraiture, the strong compositional relationships going on within Whistler’s painting, and the evocative nature of unassuming details. The series is printed in silver gelatin yet becomes richer with the treatment of hand painting. My patient 85-year-old mother posed in over 20 ensembles, but unfortunately passed away before seeing the finished series.

Dire Dawa, Ethiopia 2019.

Julie Tolentino is a modern dancer/performance artist. These are her feet.

Tribute to Gary Winogrand.

Cumberland Island, 2019, from Land of the Yaupon Holly.

Ruby Red is taken from the series Selfhood, The female characters in this series search for a sense of independent identity crafted through outward appearance and signalled through dress and posture, challenging the traditional assessment of character made via eye contact. Each image contains its own distinctive narrative, separate from the other photographs in the series, connected only through the motif of disguised eyes.

Colette performs a Star during a training session at The Devils Horsemen.

From my series, "Without a Map" How does one move through life with the scars of the past? When I was ten, my mother died unexpectedly from a heart attack. I couldn’t understand where she went or when she would return. Just as I began to comprehend this loss, my father died. I was without support from my family and community. I was lost.

When the Kurdish troops liberated the capital of Caliphate Raqqa, I finally met them - women who in a special way frightened and fascinated the world. Women of Islamic State fighters, the wives of the most dangerous men on this planet. They crossed the front lines, some died also with their children. Some of them survived. They were detained in camp Ain Issa near Raqqa, Syria's. Surrounded by their enemies – Kurds.

I consider this diptych a portrait of how I create my imagery. I begin with a spark of an idea and obsessively develop it.

Part 2: All being is something whole, indivisible. Earth, sky, plants, fruits, mountains, rivers, men, women, day, night- all merged together and flows into each other. This process is infinite and harmonious. Men came from the earth, live on earth, and will return to earth. And landscapes of the earth are seen in body curves.

Toned cyanotype, 30 x 37 cm.