Peter Bialobrzeski studied Politics and Sociology before he became a photographer for a local paper in his native Wolfsburg/Germany. He travelled extensivly in Asia before he went back to College in Essen and London to do a courses in Photography and Editorialdesign.

After having worked as a photojournalist for almost 15 years and published world wide, Peter started to focus more on Personal Projects. He interprets his work neither as documentary nor as art but defines it as Cultural Practice. In the last seven years he has published four books, "XXXholy", "NEONTIGERS" "HEIMAT" and very recently "Lost in Transition".

His work has been exhibited in Europe, USA, Asia, Africa Australia and New Zealand. He won numurous awards including the prestigious World Press Photo Award 2003 for his work about Asian Megacities. He has been a member of the Jury of the Fuji European Press awards in 2001 and 2002 and a member of the jury for WorldPressPhoto in 2007.

In 1999/2000 Peter Bialobrzeski has served as a visiting professor for Documentary Photography at the University of Essen. 2002 Peter has been appointed as a Professor for photography at the University of the Arts in Bremen/Germany. Furthermore he has been running workshops around the world. As a critic he regularly writes for "Photo News" and "Freelens Magazin".

The reproduction rights of his work are handled by laif agency in Cologne of which he became a member in 1994. He is represented by Laurence Miller Gallery in New York and LA Galerie in Frankfurt/Germany.

攝影師Peter Bialobrzeski拍攝的亞洲7個大城市風景（曼榖、吉隆坡、香港、上海、雅加達、新加坡、深圳）。照片效果看起來不像真實的，而是建築師設計的夢幻畫麵或者是電腦模擬齣來的。這些漂亮的景象都是城市的生存空間在競爭過程中發展變化日漸形成的。而這種變化又是肆無忌憚的，不受控製的無限擴展。

Photographer Peter Bialobrzeski here merges the seven Asian cities of Bangkok, Kuala Lumpur, Hong Kong, Shanghai, Jakarta, Singapore, and Shenzhen into a virtual megatropolis. The result is a view of a world that no longer seems real but appears instead as a series of dream-images from an eccentric director or computer game designer. References to reality evoke a sense of conflict in the viewer, as appreciation for the beauty of the absurd competes with recognition of an irreversible process of change in urban living space. Two different growth models are exposed: unscrupulous, uncontrolled expansion, as in Bangkok, and controlled, yet equally unscrupulous growth in a city like Shanghai. The pictures burst with conflicting signs and symbols, mostly indecipherable to the western viewer, a semiotic overkill held in check only by the edge of the picture frame.