Nicolas Muller

The photographer Nicolas Muller was born in Oroshaza, Hungary, in 1913. He studied law and political science, but finally he worked like photographer.In 1938 he travelled to Paris, because he had to run away to the Nazism.During the Second World War he travelled to Portugal, Tangier and Morocco. Finally, in 1947, he moved to Spain.

The main work of Muller in Spain was take photos of little villages, his populations and the life during post-war period.

“Siempre creí que el fotógrafo tiene en sus manos un medio único para reflejar la realidad, y la cámara debe tener una especie de fidelidad notarial y hacerlo, además, en una cierta dirección estética”, said Muller about his job.

Finally he died in 2000, in a little village of Asturias.


 Muller left Hungary in 1938.                                        Photo: Nicolas Muller.

During the years that he lived in Hungary, he took photos of the human misery. The right in Hungary said that Muller and his team weren’t patriots.

In November the room Canal de Isabel II, in Madrid, opened an exhibition, open up to 23 of February of 2014, with 125 photographs and objects like a carnets of the universities when he studied and a book with souvenirs.In addition in his things the steward, Conesa, found 40 news photographs. Conesa said that Muller was “uno de los padres del fotoperiodismo moderno”.

By María Pérez Margalejo.



Alberto Schommer, 2013 Photography National Prize

The photographer dedicated his award to his recently deceased wife. From:

The photographer dedicated his award to his recently deceased wife. From:

Alberto Schommer is one of the most important spanish photographers, at the age of 85 he has been rewarded with the 2013 Photography National Prize and supplied with 30.000 euros by the Education, Culture and Sports Ministery of Spain.

As the newspaper El Mundo has published, the jury has emphasized his evolution with photography: “Ha innovado en el medio, desde el punto de vista técnico y experimental; siendo testigo de la transformación cultural y social de nuestro país”.

However, even though his phtography is different for the technique innovation, Schommer admitted to Europapress that he prefers to use the tradicional material. “Yo tengo un laboratorio fantástico que hace unos revelados y unas ampliaciones de tal calidad que solamente con verlas ya te emocionas”, said the photographer.

Alberto Schommer got interested in photography because of his father, Alberto Schommer Koch, a German who moved to Vitoria, where he opened a study of photopraphy during the 40´s.

Schommer stood out specially in the 50´s for his correlation to the innovative movements of the Spanish photography. From that moment he started his long photography career, always to be guided under the influence of the photographers Irving Penn and William Klein.

Alberto Schommer is especially known for his portraits that got popular thanks to his colaborations with the Spanish newspaper El País. They were portraits of public personalities from the national and internacional outlook, emphasizing legends from the north american society like Andy Warhol, Roy Lichtenstein y Susan Sontag.

This series of photographies called Retratos Psicológicos dramatize the power, the economy and the culture. This particular way of creating his portraits had an important impact during the 70´s and 80´s. Because of that his work has been exposed in different countries around the world, from Japan to the United States.

The Photography National Prize includes an exhibition of the Psychological Portraits of Alberto Schommer. From:

The Photography National Prize includes an exhibition of the Psychological Portraits of Alberto Schommer. From:

His career as a photographer has been recognised with a lot of prizes; besides 2013 Photography National Prize, Schommer has been rewarded with the Medalla al mérito de las Bellas Artes 2008 among others. From 1996, he is member of Real Academia de Bellas Artes of San Fernando.

The photographer has admitted more than once that photography isn´t easy: “Hay que pensar y planificar muchísimo la fotografía que queremos”.

“Cristianos perseguidos hoy”: the latest exhibition of photographies by “Helping needed Church”

The pontifical foundation “Helping needed Church”, which supports the poor and hounded Church in all over the world, has carried on the photograph exhibition “Helping needed Church” in Santander between the 17 to 25 of October.

ImagenThe logo of AIN it’s a symbol of an a crossed cross. From:

“Cristianos perseguidos hoy”, shows through photography’s and personal proofs the reality of 350 million of people who at the present suffers persecution and discrimination because of their faith. The photographic exhibition was opened by Mons. Vicente Jiménez, bishop of Santander. The activity was divided in two parts: firstly the photographic show, in the middle of Santander, which includes some videos with images of the Church in China, Sudán, Cuba and Irak.. The photos are ordered by the theme: the history of 15 martyr of the latest 50 years and three specific situations of the persecution in Gorja, (Pakistan), Orissa, (India), and Tibhirine (Argelia).

ImagenOne of the photos of the exhibition.The photo shows an Egyptian girl who was killed by the muslims because of her faith.From:

“Cristianos perseguidos hoy”, is an exhibition with 25 photographs in which we can see the problem of the Christians in the different countries of the world. D. Javier Gutiérrez Morlote, promoter of A.I.N. in Cantabria explained the opened day: “here, the Christians are so quiet but we have to know that there is some people who can lose their life when they go to the Holy Mass, or having problems, like in Egypt, because in their identity card says: Christian. There are lots of people who suffer because of their faith.”Javier Menéndez Ros, national director of Helping Needed Church explained that this foundation was founded by Father Werenfried, a Dutch who was baptized like “Father bacon” in Spain when in the Civil War he shared out bacon with the poors.

 With hard photographs which talks about the persecuted church in the world, the exhibition is a good show that resumes the life of the Christians in some countries in which the faith should be hidden; a reality unknown for the majority of the people.


Javier Gutiérrez Morlote explainig the exhibiton and the photograph which was selected to be the portrait of the exhibitions. Photo taken by Marta Oria de Rueda

Gervasio Sánchez, photojournalism’s living history

Gervasio Sánchez was born on August 1959 in Cordoba. He started working as waiter in a restaurant when he was 15 years old and it allowed him to study journalism. He has worked as photographer in many wars such as the Bosnian War or the Gulf War. And he has worked for many mass media: La Vanguardia, El País, Heraldo de Aragon…

Gervasio-Sánchez-para-Jot-Down-5Gervasio Sánchez, one of the most important Spanish photojournalists. From: 

However, Gervasio Sanchez is a freelance journalist because he says he wants to be independent. He always tries to look for the contradictions of politicians. He’s mainly known because he’s actually critical and he has made many polemical speeches.

Also, he has an important blog in Heraldo called “Los desastres de la Guerra” where he has written many controversial articles such as the one where he accused Zapatero of being one of the most important arms trafficker in Europe. 

About his work, he explained in an interview broadcasted in Aragon TV: “I’m journalist, I’m photographer… I’m a multimedia journalist who started working 30 years ago”. He uses social networks too. He specially uses Twitter (@gervasanchez) to announce his posts on the blog and communicate with his readers.

One of his most important projects is about missing people. It obviously supposes a hard personal involvement but Gervasio explains he doesn’t want to be a photographer who only takes a good picture and then goes away. He wants to stay there and see what happens after the war, what the consequences are and how injured people survive and start a new life.

articuloGervasio2“Desaparecidos” is one of the most famous works if Gervasio Sánchez. From:

By: Sandra Pallarés Navarro

National Geographic becomes 125 years old

The magazine with the most famous yellow frame celebrates its 125th anniversary. In 1888 its founders thought about “creating a society to improve and spread the geographic knowledge”, however the reality goes beyond. Nowadays, National Geographic not only teaches about Geograpy but also about History, it shows  the most amazing places, the most unusual and marvelous animals and it helps to spread the big problems of society.

Every topic is accompanied by fantastic photos. Present-day photos are very different from the first ones of the magazine, like its editor in chief, Chris Johns, says “The readers of the fisrt number of Geographics can be forgiven if they weren’t  captivated by the magazine. In 1888, it was a brainy scientific publication with a boring brown  cover”.

Considering that the photo is one identity sign of the magazine, National Geographic was ahead of its time and has excelent photographers working for it. In 1906, George Shiras published in Geographics the first night photos of wild animals. In 1914 the magazine published its first color photo. In 1942 it published its first ilustration in the cover. In 1984 Steve McCurry published the very famous photo of the “Afghan girl”. And in 2005 the  interns of National Geographic  got to take the first photo of the inside of a tornado.

For years, the National Geographic obsession has been to travel around the world to offer to its readers its best journalist report.  According to National Geographic in 2012 it had 62 photographers  and each one of them visited 54 countries. They took 2 millions photos but only 1,468 were published.

The photo is essential for the magazine and it is a livestyle for the photographers.

“The photography is a weapon against the injustices of the world. It gives testimony of the truth” (Bert Stirton)

“One photo is a convincing proof, an irrefutable evidence” (Brian Skerry)

“I am in love of nearly everybody  who I take a photo of. I wish to know every story. I wish to get close to them. I get involved” (Stephanie Sinclair)

“The objetive is to show life, to reveal things that maybe we will never come to understand.” (Lynn Johnson)

“My photos hope to explain to the public that we have to protect those who can’t protect from themselves” (Michael “Nick” Nichols)

Happy birthday and I wish that you can celebrate your birthday for many years.

By Cristina Lostao

NG-1The “Afgan Girl” of Steve McCurry- National Geographic


For two years the photographer Jimmy Nelson lived with more or less 30 different tribes to photograph their cultures, their traditions and their way of life. The result is a beautiful work called “Before they pass away”.


            All the photos are compiled in a book.                                    Photo by: Jimmy Nelson.

Jimmy Nelson was born in 1967, in England. He lived for ten years in an orphanage and after it he decided to go to the Tibet to cross it. During one year he took a lot of previously unseen photos.

In 1997 Nelson started to compile photos of tribes and inaccessible societies, with these photos he has won a lot of prizes.

In this work we can see photos of different tribes like masai of Africa, yamales of Siberia and gauchos of Argentina. Nelson says that “Cuanto más te alejas de la civilización, más personas trabajan como una unidad familiar, mayor es el respeto que tienen para las generaciones mayores y para los demás. Cuanto más te alejas, las personas son más amables”.

In order to take the photos Nelson had to do a lot of immersion work because the majority of tribes don’t have contact with other societies.

Among the photos we can enjoy portraits or family photos, with a lot of details. The majority of the photos are very complicated because Nelson uses elements like ice, fire or water and animals, like horses, dogs or camels.

We can see all the photographs in his exposition website:

By María Pérez Margalejo.

World Press Photo 2013 – Paul Hansen

The picture was retouched with respect to both global and local color and tone.  From

The picture was retouched with respect to both global and local color and tone. From

World Press Photo is an independent and non profit organization. Every year it organizes the most renowned press photography contest of the world. The contest is composed of a jury of thirteen people, which includes photographers, graphic designers and press agency managers who choose the best photographies from the year before.

Besides, the prizes are shared out in different categories such: Spot news, Sports, Nature or General News among others. The winner photograpfy of the Spot News category of this 56th edition is the one that caught my attention.

The photography was made by the photojournalist Paul Hansen in the Gaza city, in the south east of Israel. The photography shows a group of desperate men that move the corpse of two little children wrapped in white sheets, victims of a bombing of the israelí army.

Just as the Spanish newspaper El País published the jury was amazed by the way that the photographer captured the tragedy: “Everything is there, the pain and the wrath; the desperation and the loss. The strength of the picture is in the contrast of the children’s innocence. It can’t be forgotten.”, explained Mayu Mohanna, memeber of the jury. (

Paul Hansen has won ”Picture of the year” two times and  “Photographer of the Year” in Sweden seven times. From:

Paul Hansen has won ”Picture of the year” two times and “Photographer of the Year” in Sweden seven times. From:

After winning the prize, Hansen admitted that the events from that day in Gaza affected him a lot: “I cried so much, it was a terrible story. I believe that it will take me a lot of time to overcome what happened that day”, admitted the photographer. (

In mid of this year, the picture was dragged in the middle of a controversy: World Press Photo was thinking about taking the prize away from Paul Hansen for supposedly manipulating the winner photography beyond what the photography industry allows.

Finally, just as the World Press Photo published in a announcement (, after the analysis of two experts it was determined that the picture wasn’t manipulated more that the photography industry allows. So he wasn’t taken the prize away. “We have reviewed the RAW image, and the resulting published JPEG image. It is clear that the published photo was retouched with respect to both global and local color and tone. Beyond this, however, we find no evidence of significant photo manipulation or compositing”, said World Press Photo.

By Lorena Roldán Galindo

The photojournalists, between the photo and the ethic

Since the birth of the modern Photojournalism, located by the experts in 1885 in the Crimea´s War, many communicators have asked about the reality of this job, when it was borned, where, and when the photojournalism starts to be relevant for the communication and the society. Jorge Claro León, an independent photographer, place  the beginnings of the photojournalism: “El origen del fotoperiodismo se encuentra estrechamente ligado a la denominada fotografía documental.” (Jorge Claro León, (2009)). That direct link ith the documental photography is exactly wchich defines the job of photojournalists.

On the other hand, Ulises Castellanos affirm about the photojournalism: “the photojournalism was one of the genres that basically answered to the premises of the journalistic information. Overarching of any consideration, the photojournalism has the objective of relate the history that is been living in the moment. The photographer snaps the time, freeze the movement and reveal the invisible things. The goal of the photojournalism is tell to the audience what was there, quickly, clearly and without mystery, or confussion”.

It has been talked so much about the photojournalists and their job, but going back in time, we can find the precedents of photojournalism, and the records of the attitude of photojournalists in the painters of the Realism. In the middle of the XIX century, the painters started to capture the soul of the moment in their paintings. They wanted to capture the light, the shapes, the movement, the scenery, the history of the moment, and the temporary, in some brush strokes. That attitude bring about the birth of a artistic movement, the Realism, that was taken the place of the photography when it was developed. One of the most important examples of that is “The Angelus” of Millet. It seems a frame of a film picking up all of the essence of the moment.Imagen“The Angelus” of Millet. The most famous picture of the Impressionism Movement of the 20th century. From

Maybe that should be the attitude of photojournalists. But on the other hand practising the photojournalism is pretend to show by images a hide reality. In the photjournalism, like the journalism, there is an ethic which that beat the photojournalist and his job. Francisco A. Rizzuto, one of the “armchair” of the Journalist National Academy of Argentina remember that: “Comencemos definiendo qué es la ética y según la enciclopedia Espasa: “La ética es la parte de la filosofía que trata de la moral y de las obligaciones del hombre”.

I find very interesting remember the thinking of the beatified Juan Pablo II, about the issue of the Ethic and Journalism, tought that can be applied for the photojournalism. In his Encyclical at beginning’s o f 1994, “Veritas Splendor” he talked about the bond between the freedom and the truth. Also, he spoke in 1984 to some journalists of all of the world in a meeting in Rome, and he considered the job of a journalist like a job of any professional of communication. He said: “Hay una gran analogía entre la de cualquier persona que enuncia un Evangelio, un credo religioso y un anunciante o un profesional de la comunicación, como debe ser un periodista, porque los dos están al servicio de la transmisión de la verdad. El profesional de la comunicación no tiene que ser una persona que ponga la pluma al propio uso exclusivo, sino que tiene que tener en cuenta la realidad en la cual se fundamenta”. And it can be applied for a camera and the photojournalists.

When I think about the attitude of the photojournalists I visualize in my mind one of the most important graphics reporters of Spain, Gervasio Sánchez. He has been working in conflict zone more than 25 years. In an interview produced in 2009 in El Salvador, he said firstly that: “Una fotografía tiene algo que no tiene un texto literario, porque una fotografía no necesita traducción simultánea. Una fotografía en una sociedad totalmente visual ofrece a los que la visionan una concepción del mundo”. (La Prensa Gráfica de Noticias El Salvador (2009)). In many times he added also that a photojournalist was like an observer who entered and went out of the life’s of many people who opened their hearts to show their human life to other people.

Niños en la guerra de Gervasio Sánchez

It is one of the photographs of Gervasio Sánchez belonging of the serie of “Los desastres de la Guerra”. From

And, maybe, like Gervasio Sánchez said, for entering and going out of the lives of people, we need to respect the Ethic, because sometimes is the Ethic which distinguish the death of the life for the photojournalist. The chosen of a Pulitzer award or a quiet conscience.

By Marta Oria de Rueda

Robert Capa

Robert Capa was probably the most important photojournalist in the 20th Century.

Endre Ernö Friedmann (his real name) was born on 22nd October 1913 in Budapest (Hungary). He wanted to be a famous writer but he finally found a work in photography in Berlin. In 1933, he moved from Germany to France because of the rise of Nazism. However, he found it difficult to find work as a freelance journalist. That’s why he decided to adopt an artistic name: Robert Capa (in part thank’s to his girlfriend, Gerda Taro). It was probably the best decision in his live: he rose to fame.

Robert Capa is mainly famous because of his photos of the Spanish Civil War. From 1936 to 1939, Capa worked in Spain along with Gerda Taro. He took the most important photo of his career: a military who had just been shot and was falling to his death.


“Falling soldier”, the most famous picture taken by Robert Capa.From:

Life Magazine published it on its front page on 12th July 1937. That was the moment when this picture, known as “Falling Soldier”, became in an iconic image of the Spanish Civil War. However, there are lots of doubts about its authenticity.

In addition, Robert Capa covered the Second Sino-Japanese War (when he became the best war photographer in the world), World War II across Europe and the 1948 Arab-Israeli War. Also, in 1947, Capa co-founded Magnum Photos in Paris with David “Chim” Seymour, Henri Cartier-Bresson, George Rodger and William Vandivert. He was sent to cover the First Indochina War too. Tragically, he stepped on a landmine. He died on 25th May 1954.

He would have turned 100 years ago last week. Lots of famous current photojournalists have payed homage to him. Gervasio Sánchez talked about him in 2009:

“Lo considero inmortal no por los riesgos que asumió en sus múltiples aventuras sino por su capacidad de dignificar a las víctimas de las guerras” (El País, June 2009).

Also, we can hear his voice for the very first time. The International Center of Photography has managed to get the unique radio interview Capa gave back in October 1947.

Robert Capa is considered as the father of the photojournalism.

“If your photographs aren’t good enough, you’re not close enough”, Robert Capa.

By: Sandra Pallarés

Todo Centelles 1934-1939

“- ¿Qué siente un fotógrafo al hacer estas fotos?

 – Cuando se tiene la máquina en la cara no se ve nada, sólo lo que ha de fotografiar. Luego viene la reacción. ¡Qué es brutal!”

(Interview to Agustí Centelles by Félix Pujol. La Vanguardia, 2nd May 1979)

Agustí Centelles (1909- 1982) was a young urban graphic reporter in Barcelona when the Spanish Civil War started. In that moment, he became war correspondant and he achieved to be one of the best fotographers in Spain.

In that exposition, in Paraninfo of Zaragoza University, called “Todo Centelles 1934-1939”, we can see his highest quality pictures. 82 images which in 1976 the author found in a suitcase in a Carcasonne attic. The same suitcase which accompanied him when he left the concentration camp of Bram (France).

The photographs of Centelles are not only beutifull but also shocking, they are Spanish history. On them we can distinguish important people of the period like Manuel Azaña, Lluís Companys or Carles Pi i Sunyer. In addition, Centelles’s photos have been used to identify anonymous stories like the one of Mariano Vitini. Mister Vitini was a guard who shot behind a barricade of dead horses. This photo was famous around the world and in 2011 the family of Vitini knew that he was their relative.

Ana Vitini, granddaughter of Vitini, said to El País when they knew the news:

Tanto a mi madre como a mi tía les hace mucha ilusión. La fotografía ha dado la vuelta al mundo como un icono de la Guerra Civil, pero nadie sabía que era mi abuelo. La habíamos visto en exposiciones, en libros, en prensa…”. (Natalia Junquera (2011) “El que dispara es Mariano Vitini” El País. Available in:

Centelles published his photos in international newspapers such as L’Illustration, News-Week, La Tribuna Ilustrata, The New York Times etc. And Spanish newspapers and magazines like: ABC, La Vanguardia, Mi Revista, Ahora etc.

Maybe Agustí Centelles was the first Spanish photo reporter, however the first people who took a photo about a society or political moment in history was probably the German Erich Salomon (1886-1944). After fantastic profesionals arrived for instance Eugene Smith (1918 -1978) or the famous Robert Capa (1913-1954) who lived the Spanish War with Centelles.

Carmelo Tartón Vinuesa spoke about them: “Todos ellos crearon un estilo, una forma de plasmar historias en imágenes llenas de dramatismo, con el objetivo de mostrar un mundo doliente, agresivo e ingrato.” (Tartón Vinuesa, C. (1999) Los fotógrafos aragoneses. Zaragoza: Edelvives).

Our protagonist didn’t want to represent an epic visión of the war with his photos, on the contrary, he wanted us to think over it and we analyse human condition.

With these photos we can have a thrilling and surprising review of the Spanis Civil War.  Centelles did an excelent job using his Leica III (1933 model).

By Cristina Lostao

IMGP8710 recorte 2

We can enjoy the exposition until 11th January 2014.