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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Erik Johansson
Erik Johansson
Erik Johansson

Erik Johansson

Country: Sweden
Birth: 1985

Erik Johansson (born 1985) is a photographer and visual artist from Sweden based in Prague, Czech Republic. His work can be described as surreal world created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn't capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible.

To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real."

Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose.

Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea.

There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work).

Artist Statement

"My name is Erik Johansson, I was born in 1985 outside a small town called Götene in the middle of Sweden. I grew up on a farm with my parents and two younger sisters. For as long as I can remember I have liked drawing. Probably because of my grandmother who was a painter. Early I also got interested in computers, escaping to other worlds in computer games. At the age of 15 I got my first digital camera which opened up a new world. Being used to drawing it felt quite strange to be done after capturing a photo, it wasn’t the process of creating something in the same way. Having an interest in computers made it a quite natural step to start playing around with the photos and creating something that you couldn’t capture with the camera. It was a great way of learning, learning by trying. But I didn’t considered it as a profession until years later.

In 2005 I moved to Gothenburg to study Computer engineering at Chalmers University of Technology. During my time studying I took up my interest for retouch once again. I had a lot of ideas that I wanted to realize and I saw it as problem solving trying to make it as realistic as possible. After publishing some of my images online I started to get requests about commissioned work from some local advertisement agencies. I started out freelancing in parallel with my studies while still working on personal projects. I got more and more jobs and at the time I finished my studies with a master in Interaction Design I felt like I rather wanted to try out the photography path. I moved to Norrköping in the eastern part of Sweden to start working full time as a freelance. I made new friends and got to work on interesting projects, both local and abroad.

In early 2012 it was time for something new as I moved to Berlin, Germany. A very artistic city with lots of inspiration. Today I work with both personal and commissioned projects and I also started doing photography street illusions."

Source: www.erikjo.com/

 

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More Great Photographers To Discover

Sheila Metzner
United States
1939
Sheila Metzner (born 1939) is an American photographer. She was the first female photographer to collaborate with the Vogue magazine on an ongoing basis. Metzner lives in Brooklyn, New York. Metzner graduated from the Higher School of Art and Design and the Faculty of Visual Communications of the Pratt Institute. After that, she was engaged in promotional activities. In the 1960s, she became the first woman to be promoted to art director by Doyle Dane Bernbach, an advertising agency. Thanks to this, she successfully collaborated with well-known photographers, including Richard Avedon, Melvin Sokolsky, Bob Richardson and Diane Arbus. Inspired by the work of 19th-century English photographer Julia Margaret Cameron, who painted pictures of her family, Metzner photographed her husband, artist Jeffrey Metzner, and her children. In the first 10 years, she shot only her family without publishing photos. Her first show in New York was called Friends & Family. She decided to show part of the images to the director of the Museum of Modern Art in New York, John Sarkovsky. In 1978, he bought one and included in MoMA exhibition Mirrors and Windows: American Photography Since 1960. A second exhibition – Photography (Spring 1981): Couches, Diamonds and Pie – took place there. After that, The New York Times and The Sunday Times published a photograph of Sheila's husband. In 2008 the School of Visual Arts presented the exhibition Time Line: Shelia Metzner at the Visual Arts Museum, New York. Sheila Metzner lives in New York. She was married to the artist Jeffrey Metzner, with whom she had seven children.Source: Wikipedia Sheila Metzner's unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Born in Brooklyn, she attended Pratt Institute, where she majored in Visual Communications, and was then hired by Doyle Dane Bernbach advertising agency as its first female art director. She took pictures all the while, amassing them slowly over the next thirteen years, while raising five children. One of these photographs was included in a famous and controversial exhibition at the Museum of Modern Art - Mirrors and Windows: American Photography since 1960 - and became the dark horse hit of the exhibition. Gallery shows and commercial clients soon followed. Her first commercial client was Valentino, followed by Elizabeth Arden, Perry Ellis, Shiseido, Fendi, Saks Fifth Avenue, Paloma Picasso, Victoria's Secret, Revlon, and in recent years Levi's, Ralph Lauren, Club Monaco, Bergdorf Goodman and Neiman Marcus. Sheila's fine art photographs are featured in the collections of The Metropolitan Museum of Art, The Museum of Modern Art, The J. Paul Getty Museum, The International Center of Photography, The Brooklyn Museum, The Museum of Fine Arts, Houston, The Chrysler Museum, The Art Institute of Chicago, Agfa and Polaroid Corporations, Saks Fifth Avenue, as well as many personal collections. She has published five monographs: Objects of Desire, which won the American Society of Magazine Photographers Ansel Adams Award for Book Photography; Sheila Metzner's Color; Inherit the Earth, a collection of landscapes shot during her travels, Form and Fashion, a collection of images culled from twenty years of her work in fine-art and fashion, and Sheila Metzner: From Life in 2017.Source: sheilametzner.com
Elisabeth Hase
Germany
1905 | † 1991
Elisabeth Hase (December 16, 1905 – October 9, 1991) was a German commercial and documentary photographer active in Frankfurt from 1932 until her death in 1991, at the age of 85 Hase was born in Döhlen bei Leipzig, Germany. She studied typography and commercial art from 1924 to 1929 at the School of Applied Arts, and later at the Städelschule, under, among other teachers, Paul Renner and Willi Baumeister. Hase was active as a photographer during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. She was able to avoid government oversight of her work by establishing her own photographic studio in 1933. Hase's work included surreal photography, such as close-up photographs of dolls. She received several awards, several for paper designs and collages. During a two-year collaboration in the studio of Paul Wolff [de] and Alfred Tritschler [de], Hase took architectural photographs in New Objectivity style for the magazine Das Neue Frankfurt (The New Frankfurt) and documentary photographs of modern housing projects, including those of Ferdinand Kramer. In 1932, Hase started her own business. It focused on timeless designs like still life, structures, plants, dolls, people, especially self-portraits. Often she used herself as a model in her photographic “picture stories.” Cooperation with agencies like Holland Press Service and the Agency Schostal[2] enabled her to publish her photographs internationally. Despite the bombing of Frankfurt in 1944 by the Allies, Hare's photographic archive survived the war without major damage. Many of those works are now part of the collections held by the Folkwang Museum in Essen, Germany, in the Albertina (Vienna) in Vienna, and in the Walter Gropius estate in the Bauhaus Archive in Berlin, as well as in private collections in Germany and abroad. Despite loss of her cameras and other technical equipment in the chaos of war, Hase was able to resume taking photographs in 1946 by the help of emigre friends who provided her with film and cameras to use. Among others subjects Hase documented was the reconstruction of St. Paul's Church in Frankfurt. From 1949, her work focused on advertising, consisting mostly of plant portraits. Hase died at the age of 85 in 1991 in Frankfurt am Main. Source: Wikipedia This new discovery is a rich body of work by a female artist who was photographing during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. Hase's photographic compositions are comparable to a number of her avant-garde contemporaries such as Florence Henri, Ilse Bing, and Germain Krull. Elisabeth Hase (1905-1991) was born in Germany and began her artistic studies in 1924 at the Art Academy in Frankfurt. During World War II Hase was able to avoid the politicization of her work by retreating to her studio. This however would not prevent her work from being wholly untouched by the war. During the air raid on Frankurt in 1944 her cameras and other equipment were lost however, quite remarkably, her archives of glass and film negatives survived. Most intriguing are Hase's self-portraits which experiment with identity and perceived reality. In one self-portrait she has photographed herself in the reflection of a silver sphere, she and the room are warped on the convex surface of the globe. In another image she is sprawled over a staircase as if fallen, with shoes and purse strewn likewise over the stairs. This practice of role-playing and adopting different personas is seen throughout Hase's portraiture. Hase's work has been shown in museums across Germany including; the Folkwang Museum, Essen; the Historical Museum, Frankfurt; and the Museum of Photography, Braunschweig. Hase's work was exhibited in the show "Who is Afraid of Women Photographers?" at the Musée d'Orsay, Paris, France. Her work in found in prominent museum collections internationally, including The Metropolitan Museum of Art, The National Gallery, the Museum of Modern Art, The Nelson-Atkins Museum of Art, Ackland Art Museum, the Chrysler Museum of Art, Folkwang Museum in Essen, The Albertina Museum in Vienna and The Bauhaus Museum of Design in Berlin. Source: Robert Mann Gallery
Amira Al-Sharif
Amira Al-Sharif is an award-winning Paris-based Yemeni photographer and artist with two decades of visual storytelling experience. Over the years, she has received numerous awards and fellowships, including from the World Press Photo Foundation, the Magnum Foundation, the Prince Claus Fund, the Arab Fund for Arts and Culture, the Samir Kassir Foundation, Women Photograph, and Free Press Unlimited’s “Most Resilient Journalist Award.” Her work has been published by National Geographic, the Washington Post, the Guardian, the Los Angeles Review of Books, the New York Times, ARTE TV, TV5 Monde, NPR, ICORN, UNICEF, UNHCR, among other outlets and organizations, and she penned a chapter for the best-selling anthology Our Women On the Ground: Essays by Arab Women Reporting from the Arab World (2019). She has also participated in scores of photography exhibitions and festivals in Europe, the MENA region, and across the world, from India to South Korea, and Cambodia to the United States.In 2010, she studied photojournalism and documentary photography at the International Center of Photography in New York, and later returned to her home city of Sana’a, Yemen, to teach visual storytelling to hundreds of aspiring photographers. Since fleeing Yemen in 2018, due to the wartime constraints on her work and life, Amira has completed a two-year-long artist residency at Cité Internationale des Arts and is currently pursuing a Master of Fine Art at the Beaux-Arts de Paris. With her five-year French Talent Passport for artistic and cultural professionals, she has also launched a Paris-based company for her art practice. Artist Statement People often comment that they do not see war in my beautiful pictures of Yemen, where the world’s worst humanitarian crisis continues to cast a tremendous, even inescapable shadow across the landscape. But, since the war began nearly eight years ago, the vast majority of the scenes that I have captured in my beloved motherland have put my life at risk. Even if the outcome looks beautiful — schoolchildren or fishermen smiling in the north, newlyweds or goatherders smiling in the south, women young and old with fighting spirits from north to south — destruction, destitution, and danger often lurk just beyond the frame. War makes my beautiful pictures war pictures. There are an untold number of bloody scenes from Yemen that only exist in my mind. Mental images that I cannot publish in a newspaper or hang on a gallery wall. They are the scenes that I did not want to photograph, to remember more than I already do. For me, just like my sister Hayat, who is also a photographer, flashing back to the stories and scenes that epitomize how ugly the war has been to us, and how much it has scattered us in all directions, is like free-falling into the darkness. We want to be in the light, to move on with our ambitions and dreams. That is why the word “move” has been dominant in my thoughts and speech over the last couple of years. In spite of the challenging conditions and hardships, we need to keep moving. We need to let go of that which imprisons our souls in all of the unfortunate things that have happened and are still happening to us. Sadly, we cannot stop this war. I often ask myself if people who live in peaceful countries and regions could better identify with the beautiful pictures — seeing themselves in us, their lives in ours — rather than the bloody ones that commonly inundate the international media, from Syria at present to Vietnam in the past. As a photographer with over sixteen years of experience on the ground in Yemen, I have come to the realization that the logic of “blood is to war as beauty is to peace” is flawed, incomplete. And the reason my work tends to focus on the beauty of my suffering country is simple, relatable: like people everywhere, regardless of their context of war or peace, Yemenis appreciate love and life. We, too, wish to live our loves and our lives before that unavoidable moment called “death.” -- Amira Al-Sharif About A Love Song to Socotra Island Documentary photography series (2014) Socotra is an isolated Yemeni island, and UNESCO World Heritage site, that lies between the Indian Ocean and the Arabian Sea. Described as “one of the most distinctive places on Earth,” or the “jewel of Arabia,” this special, almost secret, place is where I made A Love Song to Socotra Island, my first long-term documentary photography series. One Socotran woman in particular, Saadiya, lit up my imagination, and so for months at a time, I shadowed her days, just like the birds of the island. When I met Aunt Saadiya, as I affectionately call her, the mother of seven was locked in a near decade-long struggle against local tribesmen who were after her inherited plot of land, which sustains and shelters her family and dozens of animals. “I have a fighting spirit,” she told me one day. “Whatever happens, I am not leaving my land. I fear nobody.” From mountaintop to seaside, I documented Aunt Saadiya’s radiant life force, relatively free from the everyday constraints and fears of the conflict-ravaged mainland. After we rose with the sun, she greeted the birds and the trees, tended to her goat herd, taught her children to swim, and defended her family’s right to survive. In our last months together, a local court declared her “the rightful owner of the land.”
Mark Coggins
United States
1957
Mark Coggins is a crime-fiction novelist and photographer. Five of his six award-winning novels are illustrated with images taken by him. His photos have been exhibited in galleries across the country and have been featured in books of other authors, notably Red Mist by Patricia Cornwell and A Lover's Discourse: Fragments by Roland Barthes. He has written about photography for View Camera magazine and is a contributor to Getty Images.All About Photo: When did you realize you also wanted to become a photographer?Mark Coggins: I've been interested in photography for a long time. I had a darkroom with a friend in grade school where I developed and printed pictures I took with an old 35mm Bolsey rangefinder camera my father gave me, but didn't really get serious about it until my mid-30's when I took a view camera class with Mark Citret. All About Photo: Where did you study photography? With whom? Mark Coggins: I've taken a number of classes and workshops with Mark Citret. While Mark is primarily a large-format photographer and I was initially interested in large format as well, I've evolved into more of "street photographer" using digital 35mm equivalents. However, I believe the training in large format has given me a deeper appreciation of composition, depth of field and exposure that is quite beneficial in making my images. All About Photo: Do you take photographs between books or at the same time? Mark Coggins: I move fluidly between writing and photography, doing both pretty much at the same time. When I photograph to illustrate my novels, of course, the two are yoked together in the service of the same goal. All About Photo: Does your writing influence your photography or vice versa? Mark Coggins: A bit of both. Originally, I was using photography to document street scenes I wanted to describe in my books. Then I hit upon the idea of including the photos I was taking in the books. Later I began to alter the plot of my books to have an excuse to include photos I liked that I had taken without reference to a particular scene. All About Photo: What lead you to photography and why? Mark Coggins: In the very beginning, it was the photos my father had taken during the Korean War with the 35mm Bolsey camera he eventually gave me. My mother recently found a box of his old negatives and slides, and several images-particularly of Korean children-are quite good. All About Photo: Do you remember your first shot? What was it? Mark Coggins: I don't remember the first photo I took, but I do remember the first one I developed and printed (around the age of 12). It was a snapshot of a large toy rubber beetle of my brother's. Not great art! All About Photo: What was your first paid assignment/job? Mark Coggins: The first print I sold was the photo of two chess pieces on a board that was used for the cover of my first novel, The Immortal Game. Several bookstores carried prints of the photo to sell to collectors who had enjoyed the book. All About Photo: What or who inspires you? Mark Coggins: I photograph street scenes from cities throughout the world. What inspires me most is capturing groups of people interacting or engaged in a common activity, rather than simply taking street portraits of individuals, although I have plenty of those in my portfolio. All About Photo: How could you describe your style? Mark Coggins: I like sharply focused images with a full tonal range, pulling in as much detail as I can in the shadows. Most all my work is black and white with a colder toning. All About Photo: Do you have a favorite photograph or series? Mark Coggins: "Geisha Confidential." It was taken one evening in Kyoto, Japan. I was walking down a back street in the older part of town when a cab with a geisha pulled up. The cab driver went in to an adjacent building to retrieve a second geisha. The photo documents the moment when the second joined the first and they began an urgent conversation.I like the image both because I was so extraordinarily fortunate to be in a position to take it and because I did a fair amount of editing to achieve the nourish atmosphere (I believe) it conveys. All About Photo: What kind of gear do you use? Camera, lens, digital, film? Mark Coggins: I mostly use Fujifilm rangefinder digital cameras, which is perhaps appropriate since my first camera was the Bolsey rangefinder. I also have a full-frame Nikon DSLR that I use for non-street photos. All About Photo: What is the influence of digital technology on your photography? Mark Coggins: Although my serious interest in photography began with my involvement with large format film photography, I was never that good a printer. It wasn't uncommon for me to like the Polaroid proof I took of a particular shot more than I did of the final print. If, as Ansel Adams said, the negative is the score and the print is the performance, I was blowing it during the performance. Digital has made me a better performer. All About Photo: Do you spend a lot of time editing your images? For what purpose? Mark Coggins: I do a fair amount of editing. I often crop, convert to black and white, dodge and burn where necessary and try to make sure I've gotten as much detail in the shadows as I can. I also tone my images on the colder range of the scale. All About Photo: How do you choose your subjects? Mark Coggins: I look for interesting people interacting in interesting ways on the street. All About Photo: Favorite(s) photographer(s)? Mark Coggins: Oh, there are so many. Mark Citret, of course. From there, in no particular order, Sally Mann, Edward Weston, Ruth Bernhard, Eugène Atget, Diane Arbus, Robert Frank, Henri Cartier-Bresson. All About Photo: What advice would you give a young photographer? Mark Coggins: I can't tell you how to do this, but I do believe it is important: to develop one's own style. It took me a long time to do it, and I only realized I had done so long after the achievement. It's not a paint-by-numbers type goal. All About Photo: What mistake should a young photographer avoid? Mark Coggins: Although I've been guilty of it myself, I see a lot of photographers over-manipulating images. Perhaps it's the influence of Instagram filters. All About Photo: What are your projects? Mark Coggins: I shot continuously in my home city of San Francisco, but for some reason, my best photos seem to come during travel to foreign countries. I'm planning a trip to several new (to me) European cities this summer. All About Photo: Your best memory as a photographer? Mark Coggins: When the Patricia Cornwell's publisher contacted me about using my photo of Savannah's Colonial Park Cemetery for the endpapers of her novel Red Mist. All About Photo: Your worst souvenir as a photographer? Mark Coggins: Over-exposed 4x5 negative of what I was certain to be a great shot when I didn't properly seat the bag bellows of my large format camera. All About Photo: The compliment that touched you most? Mark Coggins: When my mother hung one of my (really not very good) photos in her living room next to a watercolor by very accomplished artist. All About Photo: Your favorite photo book? Mark Coggins: Along the Way by Mark Citret. All About Photo: An anecdote that comes to your mind? Mark Coggins: I lived next to Ruth Bernhard in San Francisco for several years. I'm embarrassed to admit that I didn't really understand her importance to the photography world until I met her at a party. All About Photo: Anything else you would like to share? Mark Coggins: Another anecdote: when I shut down my darkroom, I sold my sink to music photographer Tom O'Neal, who photographed the cover of Crosby, Stills, Nash and Young's Deja Vu album.
Robert Demachy
France
1859 | † 1936
Robert Demachy (1859–1936) was a prominent French Pictorial photographer of the late 19th and early 20th century. He is best known for his intensely manipulated prints that display a distinct painterly quality. Léon-Robert Demachy was born in the home of his grandmother in Saint-Germain-en-Laye, on the outskirts of Paris, on 7 July 1859. His parents, Charles Adolphe Demachy (1818–1888) and Zoé Girod de l’Ain (1827–1916), had two other sons, Charles Amédée (1852–1911) and Adrien Édouard (1854–1927), and a daughter, Germaine (1856-1940?). The elder Charles had started the highly successful financial enterprise of Banque Demachy, and by the time Demachy was born the family was very wealthy. He had no need to earn a living, and there is no record of his having ever been employed anywhere. He dropped the first part of his name in his childhood and was always known as "Robert". After his birth his family returned to their mansion at 13 Rue François Premier in Paris, where Demachy continued to live for the next fifty years. His early years were quite idyllic, and each year his family would spend several months at their summer villa near Villers-sur-Mer in Normandy. The rest of the year he was educated in Jesuit schools in Paris, and he became fluent in English by the time he was a teenager. His education also included extensive musical lessons, and he became an accomplished violin player. About 1870, Demachy, his mother and his siblings left Paris for Brussels due to the increasing dangers of the Franco-Prussian War. His father stayed in Paris as part of the Commune and the Banque Demachy played an important role in financing the resistance efforts. When he turned eighteen Demachy briefly served a year as an army volunteer, but he soon returned to his life of comfort. In the mid-1870s he began frequenting the artists’ cafés and, perhaps in rebellion to his gentrified life, he became involved in the growing bohemian culture that was beginning to take hold in Paris. He began making sketches of café patrons and people on the street, a practice he continued throughout his life.Source: Wikipedia Robert Demachy was considered by many to be the most influential Pictorialist photographer across the whole of Europe. He was a man of independent means allowing him to focus completely on photography and international travel for it. He was a strong advocate of gum bichromate to enhance Pictorialist photography, for which he coined the term ‘ Photo-Aquatint’ associating it with intaglio printmaking. It is obvious when studying his work closely that his enjoyment of this process was from the artistic freedom it gave him. His gum prints were very successful, with their greatly softened detail quite deliberately reminiscent of impressionist art. Demachy became a strong and vocal defender of manipulated printing techniques. He is most famous for the prominent brushstrokes and rough-textured papers. Although these were greatly manipulated, he was able to bring an air of naturalism and poise to his work. He wrote “Do not say that nature being beautiful, and photography being able to reproduce its beauty, therefore photography is Art. This is unsound. Nature is often beautiful, of course, but never artistic ’per se’, for there can be no art without intervention of the artist in the making of the picture. Nature is but a theme for the artist to play upon. Straight photography registers the theme, that is all - and, between ourselves, it registers it differently” Quoted in Robert Demachy: Photographs and Essays. Bill Jay, 1974. Robert Demachy was a leader in French Pictorialist photography at the turn of the last century. He was elected to the Société française de photographie in 1882 and co-founded the Photo-Club de Paris with Maurice Bucquet in 1888. He had his first exhibition of gum prints in 1895 at the Photo-Club de Paris, which helped to promote his increasingly international status: the same year he was elected to The Linked Ring in London and made an honorary member of the Royal Photographic Society.Source: Edward Draper
George Dian Balan
George Dian Balan is a multi-award winning fine art wildlife photographer, scientist, author, inspirational speaker and world records discoverer, specialised in world record and world class individuals in iconic megafauna species. He creates timeless images by using an immersive approach, portraying as never seen before giants that have captured our imagination. The resulting frames are cinematic, of the kind that one expects from a Jurassic Park opening scene. He pays much attention not only to the subject selection, perspective and composition, but also to body postures. The artistic question he asked himself is: “if a Statue, a Monument were to be raised to a species, what would that look like?” Dian innovates a lot and uses a plethora of photography techniques, including remotes and camera traps. He is the first to take several award-winning images of elephants as seen from inside a baobab tree. He was a member of the jury of the Golden Turtle Photography Awards (2023) and the Jackson Wild Film Festival (2022) and the curator of the exhibition Europe's Wild Heart (Brussels, 2019). He also was a three-time contributor to Prints for Wildlife, the world’s most financially successful fundraising of its kind, and one of his Asian Super Tusker images was a lead visual for the 2025 campaign. Dian has over 11 years of artistic, scientific and conservation experience working with big-tusked African and Asian elephants. About 35 of his images with big-tusked elephants were distinguished in prestigious photography competitions (usually multiple times) such as the Mono Awards Australia (Winner, 2025), Fine Art Photography Awards London (Second Prize, 2025), Memorial Maria Luisa (Honourable Mention, 2025), Monochrome Awards (Highly Honoured, 2025), MontPhoto (Second Prize, 2024), GDT European Wildlife Photographer of the Year (Highly Commended, 2024), Nature’s Best Washington (Highly Honored, 2014), reFocus Awards (Nominee, 2024), MonoVisions Awards (Honourable Mention, 2024), Monochromatic Awards (Finalist, 2024), Black and White Awards (Finalist, 2024), HIPA (Dubai, Finalist, 2024), Px3 Paris (Silver Medal, 2023) or again FAPA (Finalist, 2018). In addition, Dian won Photographer of the Year: Wildlife in reFocus Awards (New York, 2024), he was a First Prize Winner (Montier-en-Der, 2020) and Grand Winner (Untamed, 2018). His pictures are standard-setting, exquisite and compelling. They were published among others by Australian Photography, Nat Geo, BBC Earth, GEO, Forbes, Geographical, It’s Colossal, Luxury Travel, Professional Photo, Wanderlust Travel, Wild Planet Photo Magazine, Asian Geographic, Africa Geographic, Cranium, Ancient Origins, Nat'Images, Peta Pixel and Pachyderm, including several times as covers. Furthermore, Dian is the author of the award-winning book The World As It One Was (2020), which combines arresting visuals with solid science, and of the seminal study The World Records in Asian Elephants (2024). Dian is an accomplished speaker on biodiversity and environmental issues at events in Africa, Asia, Europe and North America. For him, a thorough research is key when choosing his photographic subjects or deciphering the megafauna science. This is how he became the world leading expert in big tusked elephants, discovering for the first time in more than 100 years two New World Records: the longest Asian elephant tusk (almost 3.3 m) and thickest Asian elephant tusk (58 cm). AAP Magazine AAP Magazine 54 Nature
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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