All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Enter AAP Magazine Shadows: Win $1,000 Cash Prizes and Get Published!
Enter AAP Magazine Shadows: Win $1,000 Cash Prizes and Get Published!
Reiko Takahashi
Reiko Takahashi
Reiko Takahashi

Reiko Takahashi

Country: Japan

Reiko Takahashi is a Professional Japanese underwater photographer.
She grew up in a seaside, it was natural to be absorbed in the underwater scenery.
In 2017, She quit her full-time job as a semiconductor engineer and started her career as a photographer, shooting the oceans around the world. She has won the 2018 National Geographic Grand Prix and many international Photo awards.
 

Reiko Takahashi's Video

Inspiring Portfolios

Call for Entries
AAP Magazine #47 Shadows
Publish your work in AAP Magazine and win $1,000 Cash Prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Mette Lampcov
Denmark
1968
Mette Lampcov is a freelance documentary photographer from Denmark, based in Los Angeles. She studied fine art in London, England and after moving to the United States 13 years ago. Her personal work includes projects about gender based violence and undocumented migrant workers in California. She is currently concentrating on a long term project "Water to Dust" documenting how climate change is affecting people and the environment around them in California. Her work has appeared in the New York Times, The Sydney Morning Herald, Open Society Foundation , BuzzFeed News, The Guardian, The Phoblographer She is a regular contributor to @everydayclimatechange and @everydaycalifornia Exhibitions: Docudays UA, International Human Rights Documentary Film Festival, Kiev. Noorderlicht Fotogalerie in Groningen Anderson Ranch - 15 stories ICP - projection "talk in images" Part of 15 Stories of Hope, Change & Justice exhibition at Johns Hopkins university Street level photoworks Glasgow with @everydayclimatechange ImagOrbetello exhibition with @everydayclimatechange Water to Dust Water to Dust : a photographic account of how climate change is affecting the people and environment of California. The project includes stories about how 149 million trees have died in the Sierra Nevada mountains, how water contamination is affecting rural communities as demand for water increases, and how California is seeing an increase in more aggressive, larger and faster moving wildfires that are devastating communities and forests. We are facing an existential threat to ourselves and our environment, she believe with a better educated and more informed public we can make better decisions for our future.
Nicolas Dhervillers
Nicolas Dhervillers is a French artist who works in the field of photography. After multimedia and photography studies, he made a name for himself after an historic commission from the Centre Pompidou in Metz. Inspired by cinematic, theatrical and pictorial writing, Nicolas Dhervillers's approach decompartmentalizes the photographic medium.He works with French Galleries, collaborates with Art Centers and International Museums. He was invited to show his work in many countries like Switzerland, Germany, Korea, China, Netherlands, Usa and to Paris Photo for the past 5 years.In 2014 and 2015 he will have a solo exhibition at the Helmond Gemeente Museum (NL) then he will be in Australia for an International Festival and in Belgium for the "triennale de Photographie et d’architecture".All about Nicolas Dhervillers:AAP: Where did you study photography?I studied cinema first, then theater, and then I came to Paris to make a master in Photography and mixed media. I studied with Mr Jean Claude Moineau, my "chief" in terms of theory.AAP:Do you have a mentor or role model?No, but Jeff Wall influence me off course. AAP: How long have you been a photographer?10 years, but not a Photographer, maybe an artist is more correct, in a way.AAP: What or who inspires you?History of art in generalAAP: How could you describe your style?It is a mix between the painting spirit (about the white page), the cinematographic light and the pose of theater.AAP: What are your projects?Retrospective exhibition in Netherlands.
Manuel Álvarez Bravo
Mexico
1902 | † 2002
Manuel Álvarez Bravo was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s and 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or Surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. He had numerous exhibitions of his work, worked in the Mexican cinema and established Fondo Editorial de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970. His work was recognized by the UNESCO Memory of the World registry in 2017.Source: Wikipedia Manuel Álvarez Bravo, one of the founders of modern photography, is considered the main representative of Latin American photography in the 20th century. His work extends from the late 1920s to the 1990s. Alvarez Bravo was born in downtown Mexico City on February 4, 1902. He left school at the age of twelve in order to begin making a contribution to his family's finances after his father's death. He worked at a textile factory for a time, and later at the National General Treasury. Both his grandfather (a painter) and his father were amateur photographers. His early discovery of the camera awakened in him an interest that he would continue to cultivate throughout his life. As a self-taught photographer, he would explore many different techniques, as well as graphic art. Influenced by his study of painting at the Academy of San Carlos, he embraced pictorialism at first. Then, with the discovery of cubism and all the possibilities offered by abstraction, he began to explore modern aesthetics. He had his initiation into documentary photography in 1930: when she was deported from Mexico, Tina Modotti left him her job at the magazine Mexican Folkways. He also worked for the muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Álvarez Bravo is an emblematic figure from the period following the Mexican Revolution often called the Mexican Renaissance. It was a time of a creative fertility, owing to the happy though not always tranquil marriage between a desire for modernization and the search for an identity with Mexican roots, in which archaeology, history and ethnology played an important role, parallel to the arts. Alvarez Bravo embodied both tendencies in the field of visual arts. Between 1943 and 1959, he worked in the film industry doing still shots, which inspired him to realize some of his own experiments with cinema. While Manuel Álvarez Bravo was alive, he held over 150 individual exhibitions and participated in over 200 collective exhibitions. According to several critics, the work of this "poet of the lens" expresses the essence of Mexico. However, the humanist regard reflected in his work, the aesthetic, literary and musical references it contains, likewise endow with a truly universal dimension. He died on October 19, 2002, at the age of one hundred.Source: www.manuelalvarezbravo.org Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston. In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.Source: Museum of Modern Art
Jerry Uelsmann
United States
1934 | † 2022
Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America. Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career. Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography. Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process. (Source: en.wikipedia.org)
Henry Horenstein
United States
1947
Born in Massachusetts in 1947, Henry Horenstein was on a path to becoming a historian when he discovered photography. Captivated by the work of Robert Frank and Danny Lyon, Horenstein entered the Rhode Island School of Design (RISD) where he studied with Harry Callahan and Aaron Siskind. After completing his MFA at RISD in 1973, Horenstein's first major project was a documentary survey of the people and character of country music. As a long-time fan, Horenstein recognized that the culture of country music was changing, losing the homey, down-to-earth character of "hillbilly" music, and adopting the slicker nature of contemporary country music. His goal was to preserve a vanishing culture by capturing it in photographs, and for nearly a decade, he traveled throughout the United States, documenting the artists and audiences at honky-tonk bars, outdoor festivals, and community dances. The body of work that Horenstein created (published in 2003 as Honky Tonk) is a remarkable portrait of a distinct period in American cultural history. Some of Horenstein's later work has followed a similar theme, creating documentary portraits of distinct American sub-cultures, such as the worlds of horse racing, boxing clubs, and baseball. In recent years, Horenstein has also developed an extensive body of work that combines elements of portraiture, abstraction, clinical documentation, and landscape photography. Working with animals as well as human subjects, Horenstein creates compelling and frequently ambiguous images that explore the patterns, textures and geography of skin, scales and hair. Mixing the exotic and the ordinary, and making it difficult to tell which is which, Horenstein causes the viewer to pause and look closely. In doing so, we are made to re-examine ourselves as well as the world around us. Horenstein's work has been exhibited in galleries and museums both nationally and internationally, including the Smithsonian Institution's National Museum of American History, Washington, D.C.; the International Museum of Photography, George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and Fabrik der Kunste, Hamburg, Germany. Photographs by Henry Horenstein can be found in many public and private collections including the Library of Congress, the Museum of Fine Arts, Houston, and the High Museum of Art in Atlanta, Georgia. Horenstein is the author of over 30 books including several monographs and a series of highly successful photography textbooks that have been used by hundreds of thousands of students around the country. Horenstein currently lives in Boston and is a professor of photography at RISD. Henry Horenstein & Leslie Tucker: We Sort Of People
Margaret Bourke-White
United States
1904 | † 1971
Margaret Bourke-White studied at the University of Michigan and then at Cornell University where she first discovered photography in 1927. She started taking pictures of buildings and engines. Henri Luce who created the magazine Fortune was very impressed with her work and decided to hire her as editor-in-chief in 1930. In November 1936 her picture of the Fort Peck dam makes the cover of Life magazine. It was the beginning of a long collaboration (1931-1971) and the real beginning of her career. She traveled to USSR in 1931 and then worked with E. Caldwell on the subject of poverty in the US (1937). She is then a photographer for the US Air Force and travels to Moscow, Germany, India, South Africa, and Korea. At the same time, she works for advertising agencies. At the end of the 50s, she has to stop working because of Parkinson disease.Source: Wikipedia Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject. -- Margaret Bourke-White Margaret Bourke-White, original name Margaret White, American photographer known for her contributions to photojournalism. Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927). During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue. Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States. Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world. After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops. Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.Source: Encyclopaedia Britannica The beauty of the past belongs to the past. -- Margaret Bourke-White
Advertisement
Win a Solo Exhibition in May
Photo Basel 2025
AAP Magazine #47: Shadows

Latest Interviews

Exclusive Interview with Sarah Ketelaars
British photographer Sarah Ketelaars combines a background in literature, journalism, and social science with a distinctive visual style that is both thoughtful and evocative. Based in Brighton, her work has been exhibited internationally and featured on book and magazine covers. Her recent project The 544 earned her a solo exhibition in May 2024.
Exploring the Photography Market with Artsy: An Interview with Casey Lesser
Photography has long played a crucial role in the art market, bridging fine art and contemporary culture while attracting a diverse range of collectors. With digital platforms reshaping how art is discovered, collected, and valued, Artsy has emerged as a key player in making photography more accessible. In this exclusive interview, Casey Lesser, Artsy's Director of Content and Editorial, shares insights into the current photography market, emerging trends, and how digital tools are shaping the way collectors engage with the medium. From the growing demand for portraiture to the impact of price transparency, Lesser offers a behind-the-scenes look at the evolving landscape of photography collecting.
Exclusive Interview with Fabiola Menchelli
Currently on view at the Norton Museum of Art, certain silence marks artist Fabiola Menchelli’s first solo museum exhibition in the United States. Running through March 23, 2025, the show offers an immersive exploration of photography’s materiality, challenging conventional notions of perception and image-making. Comprising more than 20 works—including previously unseen pieces—Menchelli’s ethereal compositions unfold through a meticulous process of folding, exposing, and developing light-sensitive materials. Created without a camera or negatives, her works blur the boundaries between control and chance, revealing intricate layers of abstraction and poetry. Through this interplay of light and form, certain silence invites viewers into a meditative space where perception itself becomes the subject of inquiry.
Exclusive Interview with Kristin Taylor and Kyli Hawks on Art, Activism, Policy, and Power at MOCP
Art, Activism, Policy, and Power is an educational framework offering resources and opportunities for high school students to engage with artist-activists. The program focuses on various justice topics, utilizing the MoCP’s exhibitions, visiting artists, and collections as teaching tools. Students explore how artists incorporate research into their work to amplify urgent social issues, while also gaining insight into the power of the arts in advancing activism.
Exclusive Interview with Jaume Llorens
Jaume Llorens, born in Porqueres, near Girona, has been passionate about photography since his teenage years. Though he began exhibiting his work later in life, his artistic journey has quickly gained recognition on the international stage. His work is characterized by a deep, contemplative connection with nature, where silence and observation shape his artistic vision. His poetic project Gaia, inspired by this reflective approach, earned him the December 2023 Solo Exhibition. We asked him a few questions about his life and work.
Exclusive Interview with Asiya Al Sharabi
Asiya Al Sharabi is a Yemeni-American visual artist whose work has been recognized both nationally and internationally. She began her career as a journalist and photographer before shifting her focus to artistic photography, using her lens to explore the complexities of identity, culture, and migration. Now based in the U.S., her work is deeply rooted in the experiences of Middle Eastern women, young adults, and immigrants—themes that continue to shape her creative vision.
Exclusive Interview with Members of Circulo Collective
Círculo Collective is a photography group dedicated to fostering unity and shared humanity during these challenging times. This exclusive collective brings together photographers from five countries: India, Tanzania, Iran, Brazil, and Poland. In a world increasingly defined by division and conflict, the mission of Círculo Collective holds profound significance. Through their work, they seek to remind us of the connections that bind us and the power of community in overcoming adversity. We reached out to them with a few questions to gain deeper insights into their project.
Exclusive Interview with Manuela Federl
Manuela Federl is a journalist and documentary filmmaker with over 15 years of experience. She studied languages, economics, and cultural studies, focusing on the Mapuche people in Chile, which became the subject of her published thesis. In 2016, she founded her company, bergjournalisten, and has since created award-winning documentaries like 100 Hours of Lesbos and THE GAME. Gambling Between Life and Death. For the past two years, she has traveled extensively, documenting social issues through photography and storytelling. Her series The Roma Princesses earned her the January 2024 Solo Exhibition.
Exclusive Interview with Dona Ann McAdams about ’Black Box’
Black Box, a memoir by award-winning American photographer Dona Ann McAdams, combines fifty years of black and white photography with the photographer’s own short lyric texts she calls “ditties.” The book brings together McAdams’ striking historical images with personal reflections that read like prose-poems. Her photographs, taken between 1974 and 2024, document astonishing moments and people across decades of American life.
Call for Entries
Win A Solo Exhibition in May
Get International Exposure and Connect with Industry Insiders