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Win a Solo Exhibition in May 2026 + An Exclusive Interview!
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Peter Devenyi
Photo © Francisca Filleul
Peter Devenyi
Peter Devenyi

Peter Devenyi

Country: Canada

My experience with art began in childhood, studying the art in the many books in our house, and looking long at the art of my ancestors on the walls. As my mother was a visual artist, I would also witness the creative process from early on within her studio. I also grew up always close to nature, and would so observe the cycle of renewal therein—and be influenced by the formal perfection which somehow arises out of necessity. Later taking a bachelor's degree in studio art from the University of Ottawa, Canada, I have since pursued further studies including art history, philosophy of art and aesthetics, as well as the sciences in parallel with my experimental photographic and digital artistic activity.

Statement:
While I have long admired the imagery of classical photography, I further believe that I have no less been influenced by the pictorial nature of images which prove to be no less common to the history of painting. The introspective nature of light as it appears within Netherlandish painting might somehow connote the immediacy of photographic realism, whereas the diffusive quality of British watercolour similarly remains a formative influence even within the most experimental of my lens-based artwork.

Website

www.lensculture.com/peter-devenyi-2

 

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More Great Photographers To Discover

Georgi Zelma
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
Filippo Poli
Filippo Poli
Italy
1978
Filippo Poli, an architect by training, is based in Milan and has worked as a photographer since 2008 with architecture studios, foundations, and publishers. His personal projects explore the cultural landscape and the evolving relationship between humans and nature, along with its consequences. His work appears in leading international magazines and publications. He received numerous accolades: 5th National New Photographic Vision León (2025), Enaire Foundation (2017, 2025), Architecture Photography Master Interior, PX3 Paris, ND Awards, Hopper Prize, Arles OFF (La Kabine), IPA Prize, Monochrome, FotoDoc, Arte Laguna, and PhotoEspaña Master Scholarship. Exhibitions include a solo show in León (2025), Dispara Gallery (collective Quatro Amigos), PhotoEspaña (2017, 2025), Venice Biennale, Climate Summit (COP25, 2019), ARCO Madrid (2018), and Vila Casas Foundation. His photographs are in public and private collections, including Enaire Foundation, Deutsches Architekturmuseum (Frankfurt), and Basho Gallery (USA). Roças of São Tomé: an [almost] lost treasure Discovering São Tomé and Príncipe is like going to an island that does not exist, so small that it does not appear on maps, and it is hard to notice it in the Gulf of Guinea—but all of us, sooner or later, have tasted a piece of it. In the mid-nineteenth century, this tropical land, made up of two islands lying on the equator, 300 km from the African coast, became the world’s largest cocoa producer. On this island, the cocoa plant found its perfect habitat and labor at will, cheaply imported from Cape Verde and the nearby African continent. It is not clear, even today, whether the archipelago was, before the arrival of the colonizers, uninhabited or already populated by people of Angolan origin. What is certain is that, from the 15th century, the island’s economy was primarily based on sugar cane production as well as the slave trade. For centuries, the island served as a classification hub for African deportees, who were embarked on ships of European powers to be sold in the American colonies. It was only in the 19th century that São Tomé and Príncipe became a wealthy colony, when Portuguese settlers founded large farms to grow coffee and cocoa. This lasted until 1869, when a slow decline began following the abolition of slavery, due to workers’ rebellions and the international boycott against the “slave cocoa” of the Portuguese colony. The production system endured until 1975; the last companies closed in 1990, and since then, this place has fallen into relative oblivion. A remarkable architectural heritage, however, still remains: the “roças.” This Portuguese term refers to the complex system of land exploitation that shaped the history of this small country for centuries under colonial rule. This vast agricultural machinery typically included greenhouses, dryers, warehouses, “senzalas”—the workers’ quarters—a church, a school, and sometimes even a railway connecting the different branches to the main roça and the sea. The main house, where the patrão—the landlord—lived, along with the hospital, dominated the entire settlement, either at the end of a monumental axis or from an elevated position of control. Both structures, characterized by Portuguese and European architectural styles, symbolized power. They were off-limits to the workers, who were subjected to strict working hours and restrictions on their freedom: they could not leave the farm or return to their homeland. Physical barriers—such as access to the main house or upper floors of hospitals reserved for Europeans—were clear, but the psychological boundaries, shaped over centuries of domination, still linger. They persist in the form of limited self-determination and organization. The people of São Tomé experience mixed feelings toward the roças: a blend of nostalgia and resentment for a past that provided work for all, but no rights. Architecture remains the last tangible symbol of this world and forms part of the population’s identity. The stories told by inhabitants reveal pride in the beauty of these structures, but also a sense of distance and impossibility toward spaces they never occupied. Even after expropriations in the 1980s, feelings of inferiority and lack of economic means prevented many from claiming ownership, leading to looting and eventual abandonment. The imposed divide between the world of the master and that of the workers has not disappeared since independence in 1975. The dichotomy between patrão and roças, masters and senzalas, has evolved into a new social boundary, reflected in the pejorative term “gente da roça”—people of the plantation—still marginalized within society. This photographic narrative, centered on around thirty roças, seeks to reconstruct the memory of these places by documenting their present condition and bringing renewed attention to an architectural heritage on the verge of disappearance. The project unfolds through two main approaches: the first focuses on the principal structures of the roças, photographed with long exposure to evoke a sense of untouchability and highlight the enduring tension between their grandeur and their surroundings; the second presents portraits of daily life within these communities, which, despite ongoing challenges, remain an active part of this history.
Madison Casagranda
Madison Casagranda
United States
Madison Casagranda is a recent graduate from Brigham Young University where she studied photography and art education. She works primarily with alternative photographic processes in the darkroom, and enjoys the hands-on nature of these processes. Her goal is to communicate culturally and historically significant concepts and connect us to the past in order to address challenges in the present day. Her photography most often centers around her personal and family history, United States history, anti racism, and amplifying voices from marginalized communities. She has had two solo exhibitions at BYU and her work has been included in many group exhibitions across the country, including at The Springville Museum of Art, The Southeast Center for Photography, and The Praxis Gallery. Her work has been published in Communication Arts and she is currently working on self publishing a book of her series, The Black Stories Project. The Black Stories Project The wet plate collodion tintype process was first invented in the 1850s and became a primary photographic practice in the 1860s and 1870s, documenting much of the Civil War. The tintypes of the Black Stories Project embody the history of photography and the history of racial inequity in the United States and more specifically in the state of Utah. They draw a connection between the history of racism and the dialogue about race today. In a state where the black population is less than two percent and a dominant religious culture presents a unique and complicated narrative of the past and present, we can only address the current issues of systemic inequality while acknowledging and grappling with the history behind them. This project is a study about how the weight of our state's history and the lens through which it is told, affects how black individuals experience life here today. The Black Stories Project is made up of the portraits and voices of members of the black community here in Utah, and stands as an effort towards opening the conversation, understanding the past and changing the future narrative of our history.
Thomas Eakins
Thomas Eakins
United States
1844 | † 1916
Thomas Cowperthwait Eakins (July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons. In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing-room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Thomas Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. No less important in Eakins' life was his work as a teacher. As an instructor, he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in the nineteenth and early-twentieth-century American art". Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Thomas Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Thomas Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Thomas Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Thomas Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called Naked Series, which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model. Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. Thomas Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests. Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars. Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia. In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior. Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student.Source: Wikipedia
Fabien Dendiével
Fabien Dendiével
France
Fabien Dendiével was born in Paris : as a lonely child, he kept himself busy with drawing futuristic urban panoramas and joined the Louvre art school. At the same time, his father introduced him to film photography and Fabien trained as an autodidact. His practice intensifies when he switches to medium format cameras, mastering the light and the frame of his subject as closely as possible. Empty spaces and stripped-down compositions are his favorite exercise, as a method to enhance showing the invisible. Whether it's the great outdoors of the American West or modern architecture, he treats the composition of his shot like a scene in a movie, waiting for the light to reveal the best of the scenery. Fabien's work remains confidential for some time until he finally decides to produce and sell large format prints in 2019. All about Photo Competitions AAP Magazine 34 Shapes AAP Magazine 35 Colors All About Photo Awards 2024 AAP Magazine 39 Shadows AAP Magazine 42 Shapes AAP Magazine 43 Colors AAP Magazine 47 Shadows AAP Magazine 50 Shapes AAP Magazine 51 Colors
William Ropp
William Ropp
France
1960
William Ropp is a contemporary photographer and photo-artist, best known for his series of portraits. Lives and works in France. William Ropp is often called not just a photographer but a photo-artist, and his style of photography is spoken of as unique, inimitable, and recognizable. For the impression they produce, his works are compared to those by painters: individuals depicted in them are as if looking at the viewer – not vice versa. Ropp is known as the Shadow Sculptor. Portraits by him — it is his work with the human body and portrait photography he is famous for — are indeed so dimensional and expressive that they look like they are sculpted from shadow and light. William Ropp began his career in the theatre three decades ago. There is something theatrical about his pictures today as well: each of them is like a speechless monologue by the character depicted in it, a play with one actor, which is encased into one instant caught by the photographer. William Ropp made his first series of black-and-white photographs in 1988: those were images of human figures reflected in distorting mirrors. Ropp continued working with the human body in the studio, experimenting with lighting and photographic technology. In the early 90’s, he found the style that would make him famous. Ropp would plunge figures of models, which, as it is, perplexed the viewer with the complexity of their intricate postures, into darkness and “paint” their body outlines with a bright beam of light. He would increase the exposure time to 10 minutes to make the image a bit blurred but would focus one’s attention on the main thing: the eyes, the facial expression, the shoulder line, or the arm’s expressive curve. In the mid-2000’s, Ropp, the already famous Shadow Sculptor, undertook a number of trips, each of which resulted in a series of portraits of people – Africans and Gypsies, inhabitants of Mexico and Russia, adults and kids. In 2010, he started working in color, portrait photography remaining the primary one in his work. Ropp is the author of several books on the art of photography; his exhibitions and workshops for photographers are staged all over the world. Works by William Ropp form part of the collections of the Musée de l’Elysée (Lausanne, Switzerland), the Museum of Fine Art (Houston, USA), the Maison Européenne pour la Photographie (Paris, France), the Museet for Fotokunst (Odense, Denmark), the New York Public Library (the Spencer Collection, New York, USA), and other public and private collections. Galleries throckmorton-nyc.com www.thephotogallery.se www.originalsong.cn www.holdenluntz.com www.galerie-stp.de jiromiuragallery.com louisegallery.be
Raquel Chicheri
Raquel Chicheri
Spain
1973
Raquel Chicheri is a freelance photographer.I am from Galicia, Northern Spain but because it was cold and wet I decided to move to Fuerteventura, an island off the coast of Africa which has a much better weather. I loved photography since I was a kid, my father is a great photographer and his work inspired me from the beginning. I studied " comercio internacional" (International commerce or trade) but I only worked one year in that field and then decided to study graphic design which I liked better. I worked a few years but when I met my boyfriend who was a professional windsurfer, I began to take pictures of him and of his trips and it is at that time that I began publishing photos in windsurfing magazines. I am inspired by almost everything, kids, water, animals, street... I don't take pictures in a studio, I take my camera everywhere and when I see something that catches my attention I shoot. I spend most of my time on the beach and I broke several cameras with the sand but I don't care as long as I take good photos. If the situation is right I see it right away, I cannot wait for the situation to develop too much because I usually go for a walk with my children and I have to take care of them. I prefer the situation to be casual, I hope to capture nature and the relationship of people around it. Some situations are magical, when I realize I am in front of something special, my heart beats so fast and the happiness is absolute. There are so many cheesy, affected photos all around, I try to be different. I would love to make a complete series of photos about cuba...All about Raquel Chicheri:AAP: When did you realize you wanted to be a photographer?I realized I wanted to be a photographer when I had my children and I couldn't stop taking photos of them.AAP: Where did you study photography?I studied photography on the life school with the people who shared it with me.AAP:Do you have a mentor?LifeAAP: How long have you been a photographer?Since I met my boyfriend. I used to take windsurfing photos of him for magazines.AAP: Do you remember your first shot? What was it?It was a self-portrait.AAP: What or who inspires you?Life, people, animals, lights, situations...AAP: How could you describe your style?I prefer someone else to do it for me...AAP: What kind of gear do you use? Camera, lens, digital, film?Canon Eos Mark II 5D, my favorite lens is the 50mm f:1,4.AAP: Do you spend a lot of time editing your images?NoAAP: Favorite(s) photographer(s)?Cartier-Bresson, Doisneau, Sally Mann, Mccurry, Newton, Cristina Garcia Rodero, Murray Michel, Man Ray, Jock Sturges, Margaret de lange, Koudelka, Eve Arnold, Saudek... so many..AAP: What advice would you give a young photographer?To be what you are and not what everyone else want you to be.AAP: If you could have taken the photographs of someone else who would it be?My grandmother who already died.AAP: Anything else you would like to share?"and that people who make dates are the same kind who need lines on their writing paper, or who always squeeze up from the bottom on a tube of toothpaste" Julio Cortazar, HOPSCOTCH.
Jean Karotkin
Jean Karotkin
United States
1949
Documentary/portrait photographer Jean Karotkin began making black and white portraits of breast cancer survivors in 2001, as she herself was undergoing treatment for the disease. Her images garnered recognition from the Dallas Morning News, Texas Monthly, CNN and NPR, among others, and were exhibited at The Houston Center for Photography and the Amon Carter Museum of American Art. Karotkin's subsequent portrait series, Mirrors - featuring drag queens, burlesque dancers, and the inmates of Chowchilla women's prison - also highlight and disrupt prevailing notions of beauty. In November 2021, Karotkin was featured in FotoNostrum magazine, which highlighted an array of the artist's portraits, including images from her most personal body of work: Disappearing Soul: Self Portraits in the time of Covid, for which the artist turned the camera on herself to capture the languishing effects of Covid-related isolation. The series was awarded an honorable mention from the Julia Margaret Cameron Competition, recognized by the L'OEIL de la PHOTOGRAPHIE and ARTDOC, featured in the April 2022 issue of Lens magazine and spotlighted by the Los Angeles Center of Photography. Karotkin recently completed a second collection of self-portraits, entitled West Shore Motel, for the Disappearing Soul series. For this body of work, which was shot at a Long Island roadside Motel, the artist continued to address the human need for companionship. However, here, she added an implicitly sexual element to the narrative that distinguishes it from the series' initial installment and boldly implies the type of desire that women ''of a certain age'' are traditionally denied. Karotkin's portfolio also features an expansive commercial series of botanical prints, entitled Gymnopédies, many of which were featured in the March 2023 issue of Lens magazine. Ninety-one of these prints were acquired by and installed in The Park Belvedere, an Upper West Side New York condominium, at 101 West 79th. The Museum of Arts and Design also added one to the art collection featured in their restaurant, Robert. Along with her growing botanical series, Karotkin is currently working on a monograph entitled (In)sight: Women Who Work Behind the Lens, a collection of black and white portraits of some of the most eminent female photographers and curators working today. In April 2022, images from the series were exhibited as part of a group show at the Soho Photo Gallery in New York, NY. Born in Dallas, TX, Jean Karotkin lives in New York City.
Evan Anderman
Evan Anderman
United States
1964
Evan Anderman is a fine art photographer based in Denver who is best known for his aerial images of Colorado's Eastern Plains, and other less-traveled landscapes across the American West. His work is held in the Denver Art Museum collection and has been exhibited at institutions nationally and internationally, including the DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, The Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver's Santa Fe Arts District. In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master's and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University. Anderman's work aims to challenge our understanding of the relationship between human development and the natural world by documenting the way we use the land. "As a geologist, when I fly over the high plains of eastern Colorado, I look at the overlapping layers and how the land has been modified by a combination of processes, both natural and manmade," he writes on his website, EvanAnderman.com. "The lowest layer, the land itself, has been created over literally millions of years and forms the foundation. Draped on top of that is what mankind has imposed in various ways; activities and structure that are collectively called 'progress.' While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. The images are fundamentally aesthetic, but leave you questioning the subject matter."
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Interview
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.
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Exclusive Interview with Marijn Fidder
Interview
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.
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Exclusive Interview with Josh S. Rose
Interview
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.
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Interview with Maureen Ruddy Burkhart
Interview
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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