Married to Erik and mother of Daan (2004), Anna (2006) and Taco (2010) Femke is the director of FOTODOK, a photography institution in Utrecht, The Netherlands. FOTODOK organizes group exhibitions on urgent themes in society to broaden perspectives or provide new insights. Next to the exhibition FOTODOK facilitates in-depth talent and educational programs. Founded in 2008 with documentary photography at its core, FOTODOK nowadays plays an important role in the photography ecosystem in The Netherlands. Femke is a connector with a large (inter)national network of cultural institutions, artists, social organizations, funds, (impact) investors and entrepreneurs. She studied economic-social history at the University of Amsterdam. She worked for 8 years as head of the exhibitions department of World Press Photo and was responsible for organizing and financing the 100 exhibitions that take place every year worldwide. She then spent 8 years as Head of Allocations at the Charity Lotteries, where she was responsible for distributing the proceeds of the lotteries to charitable organizations and social enterprises. Last autumn the exhibition Part of Me was on display, an exhibition about mental well-being. In the spring Whispers and Shouts. Voices of Ukrainian Women Photographers showed personal stories about Ukrainian daily life and the effects of the war. Between 3 July and 24 September Ici Près (Here Near) will be at display at Rencontres d’Arles. Femke is involved as a mentor in various startup programs and is active on the board of organizations such as Klabu, Coolfinity and the Max Foundation. Documentary photography, personal projects reflecting on urgent subjects in society are close to me. It is the core of FOTODOK. With a working past at World Press Photo too, news, portraits are of my interest too. Languages: Dutch, English and German

Misha Kominek founded Kominek Gallery in 2008 and he represents emerging and established artist such as Bryan Schutmaat, Daisuke Yokota, Mark Steinmetz or Greg Girard. Under the imprint of Kominek Books he has also published books by Alec Soth, Viviane Sassen, Rinko Kawauchi or Senta Simond. Kominek operates an artist residency based in Berlin and East Poland, focusing on experimental book making. I am interested in documentary books that show honest interest in their protagonists and themes. Also a playful use of the individual parts of a book like materials, design and sequence are very important to me. Languages: German, Polish and Spanish, English a bit less but good.

Pablo Berástegui has developed a strong career as an art producer in Spain, working in different fields, mostly in large scale, collaborative projects such as CEO of Donostia San Sebastián 2016 European Capital of Culture. He also directed the International Festival of Photography and Visual Arts PHotoEspaña from 2002 until 2006, Festival in which he hold other high leading positions between 2000 and 2002. He was the director of four editions of La noche en blanco (Madrid’s Nuit Blanche), from 2007 until 2010. In 2008, he was asked to lead the opening of Matadero Madrid, a new centre for contemporary arts in Madrid, position that he held until December 2012 when he was asked to undertake the redefinition of Conde Duque, another of Madrid's City Council most ambitious cultural spots, where he worked through 2013, until he left to launch Pausa, a program of residences for artists, poets, thinkers and researchers in a rural environment. Currently, Pablo Berástegui lives halfway between Madrid and Porto (Portugal), where he directs the project Salut au monde!, a program of exhibitions of contemporary photography focused on alterity issues. He also curates exhibitions for other institutions and teaches at different universities and schools in Spain and Portugal. I’m interested in both traditional documentary photography as well as contemporary and conceptual projects that deal with the important issues of the present". Languages: Spanish, English, Portuguese and French

I am Features Picture Editor at the Guardian with responsibility for online and print content, and over 20 years experience. My previous roles include work for book and magazine publishers, a picture editor at Conde Nast, and several years in the US as Photo Editor for the Guardian. I have been a juror on a number of leading photography competitions, regularly conduct portfolio reviews and was a mentor on the Women Photograph programme. I am particularly interested in portraiture and photo-documentary projects, and photo essays that focus on social, economic and climate issues. I'm always seeking to be surprised! Please no fashion. Languages: English.

Svetlana Bachevanova is the executive director of the FotoEvidence Association in France and a co-founder of the acclaimed publishing house FotoEvidence Press (New York 2010). The books she and her team publish expose injustice, create enduring evidence of violations of human rights and inspire social change. Svetlana has worked with some of the most skilled and dedicated documentary photographers to publish their work, human stories recounting indisputable evidence of social injustice. In addition to managing the publication of books, the FotoEvidence exhibits she curated have been mounted around the world to promote change. Svetlana conceived the FotoEvidence Book Award and the W Award for women to support the work of photographers dedicated to the pursuit of human rights, publishing work that is unlikely to find commercial publication. Under her management FotoEvidence has occupied a unique space in the world of photojournalism as both a publishing house and activist organization. I am looking for long-term documentary stories and stories that could become books. Languages: English, Bulgarian, French. Preferable language: English

Tiffany Jones is the founder of Overlapse, a London-based photobook imprint started in 2015 while researching ‘Dynamics of the Photobooks Market’ for her MA in Publishing with Oxford Brookes University. With over 30 years dedicated to arts publishing and photojournalism, she is an editor, designer, researcher and educator working with global programmes and institutions. She collaborates in tandem with photographers and artists to communicate through the making of unique, desirable, and beautifully produced books. Subjects and stories address social, cultural, and environmental issues, and highlight enduring and universal themes connected to human experience. Some notable publications include You can call me Nana by Will Harris (finalist, 2021 Paris Photo–Aperture Foundation Awards), A Parallel Road by Amani Willett (top 10 photobooks of 2021, David Campany for ICP), and Beyond Drifting: Imperfectly Known Animals by Mandy Barker (nominated for the 2018 Deutsche Börse Foundation Prize) www.overlapse.com I’m primarily interested to see photography with subject matters concerning social, cultural, political and environmental issues, and with themes connected to human experience. Projects with the addition of multiple layers – such as deeper research to include texts, archival images, drawings, or other materials – are especially inspiring to me. Languages: English.

Co-Founder and Member of the association “Isto não é um Cachimbo. Associação”, created in 2014. Co-Founder of “PIPA — Programa da Imagem e da Palavra”, created on 2021. Co-Founder of “MAPA DAS ARTES — Lisboa Contemporary Arts Map”, created on 2016. Co-Founder of “Bairro das Artes — Arts Quarter” [2010-2020]. Vice-President and Founder member of Fundador of the association "EXHIBITION —Associação lusa de galeristas” Curator of the José Saramago Foundation, since its creation in 2007. Master in Curatorial Studies by Faculdade de Belas Artes de Lisboa (2011) with the thesis «What Gallery for the 21th century? – A possible reflection», with 18/20, with the Professores Bárbara Coutinho and José António Fernandes Dias. Graduated in Computer Science Engineering [Artificial Intelligence specialization], in Instituto Superior Técnico, Lisboa, University of Lisboa, 0n 1995 and on the years after she worked full time on that field. Since 2003, Galeria das Salgadeiras has presented more than 150 exhibitions, a third of which in museums, cultural center and private galleries in Portugal and aboard (Spain, Greece, Czech Republic, Romania and Serbia). Have developed partnerships with several festivals: Bairro das Artes (Lisboa), Festival InShadow (Lisboa), FOLIO (Óbidos), Encontros da Imagem (Lisboa and Braga), Hay Festival (Espanha, Granada), Trienal Movimento Desenho 2012 (Lisboa) and Belgrade Photo Month (Serbia). Has been participating in the Drawing Room Lisboa, Arte Santander, JUST MAD, JUST LX, and in the online art fairs NOT Cancelled Portugal and Pinta Miami, with specific and curatorial proposals. The program and identity of the Gallery is founded on two axis that ortogonally intersects the proposals we present: on one side, expading and merging artistic expressions and genders, on the other, having a “positive contamination” with other fields of sensibitlity and thinking, such as Literature and Poetry. In a underlying and transversal way, onde can find Zygmunt Bauman’s thinking and his “Liquid Times: Living in an Age of Uncertainty”. Galeria das Salgadeiras represents Augusto Brázio, Carlos Alexandre Rodrigues, Cláudio Garrudo, Eva Díez, Inês d’Orey, Marta Ubach, Martinho Costa, Rui Horta Pereira and Rui Soares Costa.

Dr Amao is an associate curator for photography at the Musée National d'Art Moderne/Centre Pompidou in Paris. She has co-curated exhibitions such as Eli Lotar (Jeu de Paume, 2017), Photography, Weapon of Class (Centre Pompidou, 2018) and Dora Maar (Centre Pompidou, Tate, Getty, 2019) and co-edited the accompanying catalogues. She recently curated and edited the following projects : Charlotte Perriand. Politics of photomontage (Rencontres d'Arles, 2021) and Décadrage colonial. Anticolonialism, Surrealism, Modern Photography (Centre Pompidou, 2022) She is the author of Eli Lotar et le mouvement des images (2017) and has contributed to numerous publications including Bernar Venet. Photographies ; James Barnor. The Roadmaker (2021) ; Variétés et l’esprit contemporain (2019), Le Spectre du Surréalisme (2017).

João Kulcsár, is a visiting professor at the University of Harvard, with a masters by University of Kent in the UK. João was a professor and coordinator of the photography course at Bacharelado do Senac-SP during 30 years. He curated over 100 exhibition in Brasil and internationaly (UK, Portugal, México, Switzerland, USA and Italy) such has: Claudia Andujar, Henri Cartier-Bresson, Elliott Erwitt among others. João coordinates the project of Visual Literacy and education in Brazil and abroad does training for public school teachers. Since 2008, he has been developing photography projects with visually impaired people. Author of several books such as: Shared Heritage, Immigrant Portraits, MIS-SP Collection. Director of the Paranapiacaba Photography Festival and website editor www.alfabetizacaovisual.com.br.

Rui Prata born in 1955, Sesimbra (Portugal), began his professional career as a history teacher (1980-1998) and has been the Director of Braga Image Museum since its opening in 1999. He was the founder (1987) and artistic Director of Encontros da Imagem Photo Festival – until 2013. At Encontros da Imagem he had manage national and international projects based on photography creating a large network of contacts. Since 1990 he has lectured on contemporary photography throughout Europe and in Brazil, and acted as a curator for both national and international exhibitions. Prata is a portfolio reviewer for several international festivals. In 2019 he creates a new photo festival – IMAGO LISBOA – of which he is artistic director. Rui Prata has a degree in History from Porto University, a postgraduate degree in Fine Art direction from Escola Superior Artistica do Porto, and a Master degree in Curatorial & Contemporary Museology from Porto Fine Arts University.

He is co-founder and coordinator of the Prémio Galiza de Fotografia Contemporânea (Galiza Award for Contemporary Photography), which he curates and produces, and artistic director of the festival Outono Fotográfico (Galiza). He was the curator of more than 100 exhibitions, curating photography festivals such as Encontros da Imagem, iNstantes, Mês da Imagem do Porto – MIP (Portugal), Photoalicante (Spain), Encontros de Agosto and Paraty em Foco (Brazil). He took charge of several exhibitions for galleries such as Salgadeiras (Lisbon, Portugal), Marisa Marimón (Galiza) or Dosmilvacas (Spain), for public centers as the Museum Municipal de Ourense, the Centro Cultural Marcos Valcárcel, the Pazo da Cultura or even the Museum Provincial de Lugo in Galiza; the Museum da Imagem and the Centro Português de Fotografia in Portugal and the o Museum da Indústria in Fortaleza (Brazil). Besides that, he also organizes annually numerous exhibitions in every headquarters of Afundación in all Galician cities. He is a professor of Photography Curatorship at the Master of Artistic Photography at Instituto de Produção Cultural e Imagem (in Porto and Lisbon, Portugal); at the Escuela Mistos (Alicante) and at the course of Expert in Documentary Reporting of the Vórtice Photo Agency. Teacher of photography at the City Council of O Barco de Valdeorras (Galiza). He has given numerous portfolio reviews at festivals and art schools, and he was a trainer in the Study Plan About Contemporary Image in Fortaleza (Brazil). As an editor, he highlights the work done for the editorial Difusora de Letras, Artes e Ideas in the collection of photobooks OF, which he is the coordinator, but also several photobooks for others publishers. As an author, he published “Don’t Look at My Camera”, a research about staged photography. His latest publication is an investigation into Romasanta, the Galician werewolf. Writes frequently photographic reviews for specialized magazines and opinion articles for different newspapers. He was the coordinator of Lab_in Gallery and the director of Sargadelos Gallery (Galiza). Worked a few years as a photojournalist, having some exhibitions of his work as an artist. After years of formal training (and more) in the field of visual arts and art history, specializing himself in photography, he constantly takes lessons about edition and curatorship.