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Angelika Kollin
Angelika Kollin
Angelika Kollin

Angelika Kollin

Country: Estonia
Birth: 1976

Angelika Kollin is a 44 year old Estonian photographer currently based in Tampa, Florida.
She is self-taught and engages with her passion for photography and art as a tool of exploration of interhuman connections, intimacy, and/or the absence of such. Angelika has spent the last 8 years living in African countries (Ghana, Namibia, South Africa), where she explored the same topic in a variety of different cultures and economic conditions. More and more it strengthens her belief that despite many circumstances in life, the one thing that shapes us the most is our relationship with our parents. Through intense artistic evolution she has arrived at her current and ongoing project You Are My Mother/Father.

Statement:
My main project for the year 2020 became You are my Mother that subsequently expanded into You are my Father. As the covid pandemic rolled over the world, many of us found ourself going back to basics and spending more times with our families. I started photographing my project in April, while we were still in complete lockdown in Cape Town,South Africa. Initially I only wanted to document an act of acceptance and joining I witnessed between a mother and her adult daughter. Afterwards I continued to explore same "story" in other mother/child connections, examining the impact it has on my own family life and on my audience. There is no groundbreaking story occurring in my project, and yet, at least for myself, I am learning to understand the significance and value of connection to our family and how it shapes us for the rest of our life.
 

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More Great Photographers To Discover

Julien Coomans
Julien Coomans is a Brussels based amateur photographer with a passion for photographing the natural world. He is a highly artistic individual which led him to pursue a career as an Architect. In his free time he loves to explore his artistic side through the medium of photography and has been commended for his images in several photographic publications. ​ Through experimenting with his camera settings and techniques, Julien seeks to capture scenes of tranquillity and minimalism in a bid to counter the hustle and bustle of his daily city life. ​ He travels widely in Europe, whether it be to the expansive northern beaches of Flanders or the rugged mountains of northern Italy, Julien is happiest when at one with nature. His camera is simply an excuse to get out there, discover beautiful places and capture stunning images. Fishing Huts, Fouras, France I traveled to Fouras on the west coast of France to photograph some unusual but picturesque fishing huts that are dotted along the coast line. Central to my vision was to take a series of long exposures in order to set a tranquil scene and emphasise the elegant wooden structures. The first day was miserable - windy and a lot of rain - yet despite this I was amazed by the beauty of the huts. Undeterred, I used my time to study the scene and find my compositions, ready to pounce when conditions were just right. The hardest part about finding the right compositions was avoiding stretches of land on the horizon as the bay curves quite dramatically. I had to find the perfect balance between fishing hut, weather conditions and the horizon line beyond. After finding my compositions my next challenge was to watch out for the tide times. I had to shoot as the tide was going out not only to physically be able to take the shot but to be sure I was safe. On the second day the conditions improved and I had my window between outgoing and incoming tides. The wind had died down making the water much calmer which was better as I could keep the exposure down to a few minutes to try and improve my chance of avoiding any tripod wobble. After shooting my pre-scouted compositions and checking the LCD screen for sharpness I packed up and went for a well earned beer!
Bernard Plossu
France
1945
Bernard Plossu, born in Vietnam to a French family, is a renowned French photographer known for his evocative and poetic images that capture the essence of time and place. His work spans several decades and covers a wide range of subjects, from landscapes and travel photography to street scenes and intimate portraits. Plossu's interest in photography began in his youth, and he developed a deep passion for the medium while studying art history in Paris. Plossu was inspired by American photographers such as Robert Frank and Walker Evans to embark on a lifelong journey to document the world through his unique lens. Plossu, best known for his black-and-white photographs, has an eye for composition and the ability to capture the essence of a moment in a single frame. His photographs frequently have a dreamlike quality to them, capturing the fleeting beauty and emotions that lie beneath the surface of everyday life. Throughout his career, Plossu has traveled extensively, capturing landscapes and cultures from Mexico to India, the United States to the Mediterranean. His photographs convey a sense of wanderlust and a fascination with the world, inviting viewers to join him on his visual journeys. Plossu has made significant contributions to the documentation of the French cultural and artistic scene, in addition to his travel photography. He has photographed iconic figures such as Serge Gainsbourg and Jean-Luc Godard, providing intimate portraits of their lives. Plossu's work has been shown in prestigious galleries and museums all over the world, earning him international recognition. His photographs have appeared in numerous books and magazines, cementing his reputation as one of France's most influential photographers of his generation.
Larry Louie
Canada
1961
International award winning documentary photographer Larry Louie leads a dual career. In his optometry clinic, he is Dr. Larry Louie, working to enhance the vision of people from all walks of life in the urban core of a North American city. On his travels, he is a humanitarian documentary photographer, exploring the lives of remote indigenous people, and documenting social issues around the world. As an optometrist, Larry adjusts people’s visual perception. As a photographer, he seeks to adjust people’s view of the world. Either way, he is interested in things that exist outside the regular field of vision. Larry’s photographs have often been described as realism at its best. There is a story waiting to be told in every image. Sarah Cho, competition director of the IPA/Lucie Awards describes Larry’s photographs as “captivating and sincere and reflect his passion for the medium,” adding, “Larry Louie has a very distinctive style, straddling the fine line of a photo journalist and documentarian. His images are as rich and evocative as the subjects (on) which he focuses.” His photographs show the strength and perseverance that mark people the world over, revealing the light sometimes found in dark places. Larry' s work to document the lives of people around the world has resulted in a vast archive of images. His work has received international recognition and awards including the IPA Lucie Award; National Geographic Photo Essay Award; and Humanitarian Documentary Grant with the World Photography. As an optometrist and photographer, Larry is avid supporter of Seva Canada, an international non-profit organization who is a part of VISION 2020, the global initiative for the elimination of preventable and avoidable blindness in the world by year 2020. Source: www.larrylouie.com Interview with Larry Louie All About Photo: When did you realize you wanted to be a photographer? Larry Louie: I knew when I was about 16 when I received my first real camera and I was experimenting exposures. AAP: Where did you study photography? LL: Self taught. AAP: Do you have a mentor or role model? LL: I do not have a mentor, but I have master photographers whose work I greatly admire and I study their amazing portfolio of works: Josef Koudelka, Sebastiao Salgado, James Natchwey. AAP: How long have you been a photographer? LL: I have been regularly photographing since 18 years of age but in regards to the documentary work, only for the last 8 years. AAP: Do you remember your first shot? What was it? LL: My first shot that I liked was the color image of 2 women taken in Jodphur, India. I call it the Blue City image because of the predominating blue color of the city. This image was placed second in a National Geographic Traveler magazine photo competition. AAP: What or who inspires you? LL: Great work that has passion in the subject. That is why I like the works of the above artists I mentioned. AAP: How could you describe your style? LL: I like B&W documentary work that evokes one's curiosity about mankind and his struggle with the surrounding environment. AAP: Do you have a favorite photograph or series? LL: I like 2 of my latest series: "A Working Day in Dhaka" and my latest series "Tondo, Manila" (will be up on the web within this month). AAP: What kind of gear do you use? Camera, lens, digital, film? LL: I use Canon 5D Mark3 bodies, 24mm f1.4 prime lens, 85mm f/1.2 prime lens, and 24-105mm f/4 zoom lens. AAP: Do you spend a lot of time editing your images? For what purpose? LL: I don't do too much editing. I do not crop my images and very minimal photoshop besides converting it into black and white and some burning and dodging. I do most of my editing the week after I return on a trip. The images are used for my website, to produce prints, calendars for fund raising purposes. AAP: What are your projects? LL: Please go to my website. My latest projects have been concentrated on the working poor and people who are stuck in the bonds of poverty, especially children born into poverty and child laborers. AAP: Favorite(s) photographer(s)? LL: Josef Koudelka, Sebastiao Salgado, James Natchwey. AAP: What advice would you give a young photographer? LL: Photograph what gives you passion. The best work will come through. Shoot, shoot, shoot. AAP: What mistake should a young photographer avoid? LL: Being cliché. One should be original. AAP: An idea, a sentence, a project you would like to share? LL: My wife and I are working presently with an organization named "Philippines Community Fund" whose goal is through education to enable a generation of children to escape from the cycle of poverty to which they are born into, and in doing so create a better and more sustainable life for them and their family. PCF today funs a four storey school in Tondo, Manila providing education, food, healthcare, and other support services for nearly 600 children from the nearby garbage dump and cemetery. AAP: Your best memory as a photographer? LL: To be able to help and raise funds and bring attention to issues that makes a significant difference in the lives of the people we photograph. AAP:The compliment that touched you most? LL: A thank you and a smile from the people who we touched during our visits and who in return touched us with their graciousness. AAP:If you were someone else who would it be? LL: I am happy with who I am and what I do. AAP: Your favorite photo book? LL: "The Sahel" by Sabastiao Salgado. AAP: Anything else you would like to share? LL: No, I would like to thank you for your interest in my photography.
Stephen Wilkes
United States
1957
Since opening his studio in New York City in 1983, photographer Stephen Wilkes has built an unprecedented body of work and a reputation as one of America's most iconic photographers, widely recognized for his fine art, editorial and commercial work. His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Carl & Marilynn Thoma Art Foundation, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum and numerous private collections. His editorial work has appeared in, and on the covers of leading publications such as the New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, Sports Illustrated , and many others. Wilkes' early career interpretations of Mainland China, California's Highway One, and impressionistic "Burned Objects" set the tone for a series of career-defining projects that catapulted him to the top of the photographic landscape. In 1998, a one-day assignment to the south side of Ellis Island led to a 5-year photographic study of the island's long abandoned medical wards where immigrants were detained before they could enter America. Through his photographs and video, Wilkes helped secure $6 million toward the restoration of the south side of the island. A monograph based on the work, Ellis Island: Ghosts of Freedom, was published in 2006 and was named one of TIME magazine's 5 Best Photography Books of the Year. The work was also featured on NPR and CBS Sunday Morning. In 2000, Epson America commissioned Wilkes to create a millennial portrait of the United States, "America In Detail," a 52-day odyssey that was exhibited in New York, Chicago, Los Angeles, and San Francisco. Day to Night , Wilkes' most defining project, began in 2009. These epic cityscapes and landscapes, portrayed from a fixed camera angle for up to 30 hours capture fleeting moments of humanity as light passes in front of his lens over the course of a full day. Blending these images into a single photograph takes months to complete. Day to Night has been featured on CBS Sunday Morning as well as dozens of other prominent media outlets and, with a grant from the National Geographic Society , was extended to include America's National Parks in celebration of their centennial anniversary and Bird Migration for the 2018 Year of the Bird. Most recently a new grant was extended for Canadian Iconic Species and Habitats at Risk in collaboration with The Royal Canadian Geographic Society. Day to Night : In the Field with Stephen Wilkes was exhibited at The National Geographic Museum in 2018. Day to Night was published by TASCHEN as a monograph in 2019. Wilkes' work documenting the ravages of Hurricanes Katrina and Sandy has brought heightened awareness to the realities of global climate change. He was commissioned by the Annenberg Space for Photography to revisit New Orleans in 2013 after documenting Hurricane Katrina for the World Monuments Fund. And, his images were exhibited with his photographs on Hurricane Sandy in the 2014 Sink or Swim, Designing for a Sea of Change exhibition. Wilkes directorial debut, the documentary film, Jay Myself , world premiered at DOCNYC in November 2018. The film is an in depth look into the world of photographer Jay Maisel and his move out of his 35,000 sq. foot building at 190 Bowery. Oscilloscope Laboratories has acquired the North American rights and the film opened at Film Forum in New York in July, 2019 Wilkes was a speaker at the TED2016: Dream Conference on his Day to Night series. The talk has over 1.6 million views. In 2017 Wilkes was commissioned by the US Embassy, Ottawa to create a Day to Night photograph of Canada's 150th anniversary of Confederation. Despite his intense dedication to personal projects, Wilkes continues to shoot advertising campaigns for the world's leading agencies and corporations, including: Netflix, OppenheimerFunds, SAP, IBM, Capital One, The New Yorker, Johnson & Johnson, DHL, American Express, Nike, Sony, Verizon, IBM, AT&T, Rolex, Honda. He has a robust following on Instagram of more than 500,000. Wilkes' extensive awards and honors include the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from Adweek Magazine, Fine Art Photographer of the Year 2004 Lucie Award, TIME Magazine Top 10 Photographs of 2012, Sony World Photography Professional Award 2012, Adobe Breakthrough Photography Award 2012 and Prix Pictet, Consumption 2014. His board affiliations include the Advisory Board of the S.I. Newhouse School of Communications; Save Ellis Island Board of Directors, on which he served for 5 years; and the Goldring Arts Journalism Board. Wilkes was born in 1957 in New York. He received his BS in photography from Syracuse University S.I. Newhouse School of Public Communications with a minor in business management from the Whitman School of Management in 1980. Wilkes, who lives and maintains his studio in Westport, CT, is represented by Bryce Wolkowitz Gallery, New York; Fahey Klein Gallery, Los Angeles; Monroe Gallery of Photography, Santa Fe and Holden Luntz Gallery, Palm Beach..
Robert and Shana ParkeHarrison
Robert ParkeHarrison (born 1968) is a photographer, best known for his work (with wife Shana ParkeHarrison) in the area of fine art photography. The photographs of Robert and Shana ParkeHarrison have been displayed in 18 solo exhibitions and over 30 group shows worldwide. Their work can also be found in over 20 collections, including the National Museum of American Art at the Smithsonian Institution and the George Eastman House. Their book, The Architect’s Brother was named as one of 'the Ten Best Photography Books of the Year' of 2000 by the New York Times. "My photographs tell stories of loss, human struggle, and personal exploration within landscapes scarred by technology and over-use…. strive to metaphorically and poetically link laborious actions, idiosyncratic rituals and strangely crude machines into tales about our modern experience." -- Robert ParkeHarrison Source: Wikipedia Artist Statement: We create works in response to the ever-bleakening relationship linking humans, technology, and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology's failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand. Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations—this work attempts to provide powerful impact both visually and viscerally. Source: parkeharrison.com
Tina Modotti
Italy / United States
1896 | † 1942
With her camera, Tina Modotti presents a distinctive vision of 1920s Mexico. As a Hollywood actress turned Comintern agent, Modotti used photography as an artistic and political outlet. Born​ in Udine,Italy,​ ​Modotti emigrated to San Fransico at the age of sixteen. She quickly established herself as a successful actress and modeled for notable photographers including Jane Reece and Edward Weston. The latter became her lover and artistic mentor. In 1923, Weston and Modotti set up a successful portrait studio in Mexico City. While there, Modotti moved within avant-garde circles, befriending Frida Kahlo and Diego Rivera. It was during this period in Mexico that she developed her passion for both photography and politics; this culminated in a solo exhibition at the National Library in 1929 which emphasized the revolutionary quality of her work. A year later Modotti was exiled from Mexico because of anti-communist sentiments and in 1931 she set aside a promising career in photography to devote herself entirely to political activism. She worked as a Comintern agent until her death in 1942. Although her life and photographic style are often linked with Edward Westo​n, her political engagement and the eye for composition she harnessed to express it are her own. Calla Lilies (1925) represents a cool appraisal of natural beauty and shows Modotti’s interest in formalism, something she shared with Weston, as she emphasizes the stark lighting, the near symmetry, and the tactile presence of the flowers. In Workers Parade (1926), however, while Modotti’s skill in formal composition is still evident, as the lighting and angle emphasize the repeated pattern of the hats, this dramatic view of a May Day parade in Mexico City reveals Modotti’s Communist sympathies and her ambition to use photography to promote political change.Source: Hundred Heroines Tina Modotti was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother, Assunta, was a seamstress; her father, Giuseppe, was a mason. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California. Attracted to the performing arts supported by the Italian émigré community in the San Francisco Bay Area, Modotti experimented with acting. She appeared in several plays, operas, and silent movies in the late 1910s and early 1920s, and also worked as an artist's model. In 1917, she met Roubaix "Robo" de l'Abrie Richey. Originally a farm boy from Oregon named Ruby Ritchie, the artist and poet assumed the more bohemian name Roubaix. In 1918, Modotti began a romantic relationship with him and moved with him to Los Angeles to pursue a career in the motion picture industry. Although the couple cohabited and lived as a "married couple", they were not married. She was listed as a U.S. citizen in the 1920 Los Angeles township census. Often playing the femme fatale, Modotti's movie career culminated in the 1920 film The Tiger's Coat. She had minor parts in two other films. The couple entered into a bohemian circle of friends. One of these fellow bohemians was Ricardo Gómez Robelo. Another was the photographer, Edward Weston. As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston's lover. Ricardo Gómez Robelo became the head of Mexico's Ministry of Education's Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio. Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston's, hoping to mount an exhibition of his and Weston's work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo's vision realized, she mounted a two-week exhibition of Robo's and Weston's work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their youngest three children. She agreed to run Weston's studio free of charge in return for his mentoring her in photography. Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital's bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera's murals at the Secretariat of Public Education in Mexico City. Modotti's visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston's son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston. In 1925, Modotti joined International Red Aid, a Communist organization. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali. Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party's Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses. Mexican photographer Manuel Álvarez Bravo divided Modotti's career as a photographer into two distinct categories: "Romantic" and "Revolutionary", with the former period including her time spent as Weston's darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as "The First Revolutionary Photographic Exhibition In Mexico". As a result of the anti-communist campaign by the Mexican government, Modotti was exiled from Mexico in 1930. She first spent several months in Berlin, followed by several years in Moscow. Traveling on a restricted visa that mandated her final destination as Italy, Modotti initially stopped in Berlin and from there visited Switzerland. The Italian government made concerted efforts to extradite her as a subversive national, but with the assistance of International Red Aid activists, she evaded detention by the fascist police. She apparently intended to make her way into Italy to join the anti-fascist resistance there. In response to the deteriorating political situation in Germany and her own exhausted resources, however, she followed the advice of Vittorio Vidali and moved to Moscow in 1931. After 1931, Modotti no longer photographed. Reports of later photographs are unsubstantiated. During the next few years she engaged in various missions on behalf of the Workers International Relief organizations as a Comintern agent in Europe. When the Spanish Civil War erupted in 1936, Vidali (then known as "Comandante Carlos") and Modotti (using the pseudonym "Maria") left Moscow for Spain, where they stayed and worked until 1939. She worked with Canadian Dr. Norman Bethune during the disastrous retreat from Málaga in 1937. In 1939, following the collapse of the Republican movement in Spain, Modotti left Spain with Vidali and returned to Mexico under a pseudonym. In 1942, at the age of 45, Modotti died from heart failure while on her way home in a taxi from a dinner at Hannes Meyer's home in Mexico City, under what are viewed by some as suspicious circumstances. After hearing about her death, Diego Rivera suggested that Vidali had orchestrated it. Modotti may have "known too much" about Vidali's activities in Spain, which included a rumoured 400 executions. An autopsy showed that she died of natural causes, namely congestive heart failure. Her grave is located within the vast Panteón de Dolores in Mexico City. Source: Wikipedia
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry