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Eva Mallis
Eva Mallis
Eva Mallis

Eva Mallis

Country: United States

Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate.

Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe.

Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows.

Statement
"I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."

Websites

www.evamallisphoto.com

@evamallis

 

Inspiring Portfolios

Aline Smithson
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Lydia Panas
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Grace Weston
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More Great Photographers To Discover

Sara Markese
Sara Markese
United States
1975
Sara Markese is a child psychologist by day and a photographer in every spare moment in between. A long hiatus from creative work began anew as she returned to photography, and macro photography especially. With a background in psychoanalytic clinical psychology training at the CUNY Graduate Center, NYC, research in microanalysis of mother-infant communication at Columbia University NYSPI, and study of mother-infant howler monkeys in Nicaragua, as well as a decade as a play therapist in NYC and fifteen more years in play therapy since, she has always been a keen observer of behavior, nuance, affect and detail. She approaches photography as she did cherished treasure walks as a child, letting her eye be caught and emotion and visual wonder guide the image. She uses simple elements of nature, daily life and common objects, and childhood themes of wonder, hiding, seeking and peeking to create feeling mementos in each photograph. With a focus on bringing elements of color, light and simple detail to center stage, her photographs encourage the viewer to see things as they would look if you just got on your knees and peered carefully. Champion of the tiny, wanderer with purpose, she is drawn to the things out of place, the slivers of light and gleams of color. In her work, she seeks to show the world in its infinitesimal detail and beauty, to convey the majesty of the miniscule and the extraordinary nature of the ordinary things that go unnoticed in our bustling world. She is often a quiet observer, always with camera in hand, moving through the many busy places she has lived. Raised in suburban Chicago, she has lived in NYC, Boston, and now lives in suburban Washington DC. Amidst the busy pace of life as a therapist, photographer and mother to a dynamic 9-year-old daughter, she strives to be in complete stillness and silence when she is with her camera, known to spend hours on a square foot of grass in the “wild” of her backyard or a local park or trail where most of her work is focused. She teaches creative photography for children with an emphasis on the development of their unique artistic perspective alongside basic photography skills, composition and exploration of different photographic styles. She has had her work exhibited at Praxis Gallery, PhotoPlace Gallery, SE Center for Photography, Black Box Gallery, and LoosenArt Gallery in Rome as well as featured in ArtDoc Magazine online and several issues of F-Stop Magazine. Wayward Summer - Project Statement: Summer can be like a Sunday. Too long, lonely and quiet in all the wrong places. A respite awaited and longed for, only to arrive with an aura of loss before it starts. Summers growing up in suburban Chicago felt that way, oppressively humid, stretching, and filled with unease as I wandered the micro world of my backyard dreading the end of the season. At night, to the contrary, everything seemed to come to life on my block. Then I was missing out, peering out my window while the sounds of neighborhood games rang from the street. I was inside looking out, like I was in another world. Since then, I’ve been in many other worlds, only to find myself back as I approach my fiftieth year as a wife and mother in the suburbs of Washington DC. Back in a suburban summer and back in that old feeling. Lost. It started as I followed my daughter, my lovely, brilliant, precociously independent daughter, Elodie, who I have been following for nine years, since she was able to walk and always way ahead of me. It was different this summer, though. Admittedly, something in me was unsettled already. I had always followed her and then joined, but now she spent her time in the deep end, doing things that just didn’t involve me and suddenly I was not following or joining. I was sitting alone. And there was that familiar disconnected feeling –sitting with time, with loneliness, with space, with thoughts – she will grow up, I will miss her – sitting with sadness, with self. Summer is long, and so there is July, like I just described, and there is August. I have tried to remedy my August malaise with an end of summer trip. My daughter and I always leave my husband at home to go on a road trip. I look forward to our trip as a gift from rushing through our days, time to spend freely exploring, roaming, adventuring, being as we wish, together. We have done this since she was very small, and she has always been beyond her years in her ability to roll with the long stretches and unknowns a road trip can bring even with the best planning. We usually know where we are going, but not this year, I didn’t know where to go and didn’t have it in me to plan. No direction, and now she is older, even farther ahead, leaving me to watch from further away. I found myself left with time - to sit and be still, to look at what was near, to gaze at my own hands, the poolside, the light reflecting off the table, the sand on my feet - and then she would return to show me what she created, often bringing me a gift to see or photograph. The gift of a memory shared. We were very often together too, in laughter, joy, closeness, and when she was still and we were together, that was a gift too, and those photos are rare but treasured. “Wayward Summer” is about loss and its depths, but also about turning “lost” into finding a way forward. As much as the feeling of too much space has always been disquieting, I also love to be lost. Wandering is and has always been my strength and my joy. From my childhood lost in the world of grass, bugs and dirt in the backyard, to driving blindly through the Chesapeake on an August trip with my 9-year-old daughter this summer, loss and “lost” are entwined in all my most deeply meaningful experiences. “Wayward Summer” is a project about all the moments that make a summer, the bright, the quiet and calm, the lonely and lost ones, and the turning of feeling lost into wandering. I found that unleashing purpose from the equation and accepting disconnection led me back to one of my greatest joys – untethered wandering. It allowed me to find beauty in the tiny details that stillness allows and a way to see moments that won’t last or stay still because they cannot and should not. The pictures in this series are all memory mementos – each contains elements of the mood evoked, sensory recollections and traces of the thoughts and feelings I was having as I watched my daughter play, learn, leave. Summers have a life of their own and can feel like a lifetime. In that, they can generate enormous unease, but also have room for so much growth. Children come back and they have changed, grown taller, sound different, want different, need less. Summers allow us a burst of freedom, a chance for joy, connection and change before we return to our lives overcome by time demands, structure, separation and parallel movement. They are a treasure veined with the knowing that they will end, but the memories glimpsed as they unfold when we are forced to let go are mementos of the magic that filled them. Awarded Photographer of the Week - Week 42
Marika Poquet
Marika Poquet
France
1972
I come from an artistic family of musicians, painters, sculptors and writers. I was given my first camera when I was ten years old. On every possible occasion, I took pictures of family and friends. What I enjoyed most was catching people in their everyday life. In my late teens, I started wandering the streets of Paris taking pictures of people. I would then shut myself up in a dark room. I still remember the excitement when I discovered what I had shot. After 15 years of working in finance, I decided to put an end to my career and started what I had always wanted to do as a child: photography. Statement I love discovering the world, capturing people’s emotion, and soul, documenting their everyday life. I take candid street photography. I wander in the streets with no precise idea following my instincts, trying to be invisible, looking for something beautiful, unexpected, surprising, magical, mysterious, ambiguous, or even funny trying to capture the perfect moment when everything comes together. Lately I have started working more on documentary projects using my street photography style. AAP Magazine: AAP Magazine 43 Colors AAP Magazine 46 Women AAP Magazine 53 Travels
Kenneth Josephson
Kenneth Josephson
United States
1932
Kenneth Josephson is an American photographer, born on July 1, 1932 in Detroit, Michigan. He completed his elementary education in Detroit. In 1953 after being sent in Germany by the United States Army he was trained in photolithography and aerial reconnaissance photography. In 1957 he earned a Bachelor of Fine Arts from the Rochester Institute of Technology, located in New York. There he studied under Minor White. In 1960 he earned a master's degree from the Institute of Design of the Illinois Institute of Technology. While studying there he was influenced by Aaron Siskind and Harry Callahan. After earning his master's degree in 1960 Kenneth Josephson worked at the School of the Art Institute of Chicago from 1960 to 1997, when he retired. In 1963 he co-founded the Society for Photographic Education with thirty other notable photographers. His works in the 1960s and 1970s which were focused on conceptual photography placed him at the forefront of conceptual photography. In 1972 he was awarded with the Guggenheim Fellowship grant by the John Simon Guggenheim Memorial Foundation. In 1975 and in 1979 he was awarded with the NEA grant by the National Endowment for the Arts agency. Many of his collections are found in museums such as the Metropolitan Museum of Art of New York City, the Museum of Contemporary Art, Chicago, the Smithsonian Institution in Washington, the National Museum of American Art and The Bibliothèque nationale de France in Paris. In 1977 and 1983 many of his works became part of exhibitions in Austria, the United Kingdom, Germany, the Netherlands, Sweden, Switzerland, and France.Source: Wikipedia Kenneth Josephson is recognized as one of the pioneers of conceptual photography. He has explored the concepts of photographic truth and illusion throughout his career, producing a varied oeuvre that utilizes a range of techniques from collage and construction to multiple exposures and single negative photographs. Focusing on what it means to make a picture, Josephson’s work playfully highlights the illusive nature of photography. New York State (1970) is one of Josephson’s most well known photographs, and one of a much larger series incorporating pictures within pictures. We see the artist’s arm, stretching over a body of water, and just above the horizon line he holds a picture of a ship. Positioning this ship so that it appears proportionally equal to a full-sized ship in the distance, the photograph is deliberately composed to draw attention to its artifice. Source: Yancey Richardson In 1963 he became a founding member of the Society for Photographic Education, and in 1964 his work was included in John Szarkowski’s exhibition, “The Photographer’s Eye,” which traveled internationally to forty venues from 1964 to 1972. Josephson received his first museum retrospective in 1999–2000 at the Art Institute of Chicago and the Whitney Museum. His work is featured in numerous collections around the world and his monographs include: Kenneth Josephson Museum of Contemporary Art, Chicago, 1983; Kenneth Josephson: A Retrospective The Art Institute of Chicago, 1999; Kenneth Josephson: The First Fifty Years Stephen Daiter Gallery, 2008; Kenneth Josephson: Matthew 2054 Press and Stephen Daiter Gallery, 2012; Kenneth Josephson: Selected Photographs Only Photography, 2013; and The Light of Coincidence: The Photographs of Kenneth Josephson University of Texas Press, 2016.Source: Gitterman Gallery
Trini Schultz
Trini Schultz
Peru
1961
Trini Schultz is a self-taught fine-art photographer living in Orange County, California with her husband, Dan, and two children. She was born on July, 1961 in Peru, South America. Growing up watching her grandfather paint, she grew an appreciation and interest for art. With the encouragement of her family & friends she pursued in her enthusiasm of drawing and painting from a young age. Photography intrigued her but it wasn't until her father bought her her first camera at the age of 16, a Pentax K1000, when her passion for taking pictures began. She studied Commercial Art in Fullerton College where she also took a class in black and white photography to learn how to develop her own film. A few years after her second child was born, she started her own photography business creating black & white photos in her home-built darkroom and then hand coloring the images. With the evolution of the digital camera and photo software, traditional film and darkroom supplies started to become less available. Trini then set off to learning the new techniques of digital age photography. Her husband taught her the basics of Adobe Photoshop and she took it from there. She began creating painterly-like images with the use of photoshop techniques she had picked up over the years and more recently with the inspiration of surreal photography slowly becoming a popular style of art.From www.mymodernmet.comCalifornia-based photographer Trini Schultz, aka Trini61, explores new worlds through her lens filled with haunting and, at times, romanticized portraits of people with their own captivating narratives. Time stands still in each of her surreal images as wafts of dust billow around a mysterious man, floating umbrellas fill the sky, and a rainstorm of rocks are caught in midair like weightless aerial objects. The fine art photographer's portfolio boasts a fantasy-driven collection that exposes an expressive beauty in the uncontrollable nature of her imagined worlds. There's an engaging charm about the photos that are both intriguing and captivating. With the help of her family, who often serve as her willing models (including a husband who wound up breaking his foot while performing a stunt for a photo shoot), Schultz is able to bring her creative visions to life.All about Trini Schultz:AAP: When did you realize you wanted to be a photographer?When my dad bought me my first "real" camera. A Pentax K1000. It was a Christmas gift, and I was about 16. He got me a huge Polaroid camera before that, but it wasn't the same as having an actual 35mm camera. I loved photography but I didn't think of it as a choice for a career, it was more of a hobby, but family and friends kept telling me I should consider being a photographer. So it wasn't till after I got married and had my second child that I picked up the camera again after many years, and took photography more seriously, and fell in love with it all over again.AAP: Where did you study photography?I took a class at a local community college in black & white developing many years ago, but that was it. I'm mostly self taught. Same with photoshopping, taught myself.AAP:Do you have a mentor?NoAAP: How long have you been a photographer?Oh gosh...a long time! Probably 30 yrs or more. But there was a period in my life where I didn't do it as often, because the rolls of film and to having them developed could get expensive. Then I started developing my own pictures at home, but photo papers and the chemicals could get expensive too. Then came digital photography and my life changed.AAP: Do you remember your first shot? What was it?No, I don't remember but it was probably a family member or a friend. People was my favorite subject. Still is.AAP: What or who inspires you?Everyday I'm inspired. Looking at other photographer's work on the internet. The shapes of the mountains and the clouds. The way the sun shines thru the window and creates shadows on the walls and floor. Music videos, movies, fashion shows, paintings. I love going to antique shops, so much inspiration and ideas pop up. Interesting buildings abandoned or new. Artists look at the world with awe and inspiration, every little detail from a dead insect on the floor to fog rolling over the hills, seeing the beauty in it and the potential in them to make an amazing subject on a photograph or a painting.AAP: How could you describe your style?Surreal or conceptual photography. i love fashion photography too so I would like to experiment more with editorial type of photography as well, especially now that my daughter is studying costume/fashion design.AAP: What kind of gear do you use? Camera, lens, digital, film? I used to use a digital Nikon D80 for a little while, and then got myself a Canon EOS 5D Mark II digital camera. I use two different lenses, Canon EF 24-105mm 0.45m/1.5ft, and a Canon EF 85mm F1.8.AAP: Do you spend a lot of time editing your images?Depending on the image. If it has a lot of details, a lot of work needed, then it takes me a while. I'm a perfectionist and sometimes I find myself spending more time than I need to on a single image. Some images only take a few hours, and some take weeks! Even when I'm finished with it, I sit on it for a little while, making sure it doesn't need anything else.AAP: Favorite(s) photographer(s)?I love the work of Martin Chambi, a Peruvian photographer from the early to mid 20th century. He was one of the first major indigenous photographers in Latin America. Another Peruvian photographer I admire is Mario Testino. The beautiful black & white work of Dorthea Lange and Ansel Adams. And of course, Annie Leibovitz & Richard Avedon, who's work I've admired since I first started taking photos. But it's the incredible work of lesser known or not as famous photographers I see on the internet every day, that leave me very much inspired and excited about photography.AAP: What advice would you give a young photographer?Not give up. It takes a lot of practice & playing around with. Try different styles, subjects, experiment with it, it helps to take a class or two at your local college if you like, and never stop learning and trying new things, it's how you grow artistically. Don't be afraid to think outside the box too.AAP: What mistake should a young photographer avoid?The feeling that you failed cause the only failure is when you give up.AAP: Your best memory has a photographer?It's a personal one. I was inspired by the photographs taken by Annie Leibovitz in her book 'A Photographer's Life' in which she included images of her partner's ordeal during her cancer treatments all the way to her death. They were so beautifully documented in black & white photos. Before my grandmother passed away my mother and I were caring for her, and during this time I documented some of the moments in black & white photos. I never plan to show the images to anyone, except close family, if they wish to see them. They are bittersweet memories, of my grandmother's final images of her life. And out of all the images, a close-up photograph of her hands is probably my favorite.
Cao Luning
Cao Luning
China
1990
Cao Luning is a street photographer who lives in Nanjing, Jiangsu Province, China, a city of 8 million people. He only started to do photography 3 years ago and all learnt by himself. For Cao Luning, photography is a means of getting to know and expressing himself. Just like the saying "You are what you read", he also believes "You are what you shoot". He's extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate him. They are just similar to life, you never know what you are going to get tomorrow. You may capture some nice shots, or you might come back empty-handed. Street photographer is his identity. Cao Luning is a street wanderer and likes to watch people. He can linger on the streets all day long without feeling tired or fed up. When he shoots, he focuses on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. Cao Luning reckons framing is crucial to a good photograph, and he's been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which He thinks is something that every photographer should pay attention to. His mentors are Mangum Photographer Alex Webb and his wife Rebecca Norris Webb, and they both helped him a lot in developing his own vision. In his opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Statement I'm a street photographer who started to do photography 3 years ago. For me, photography is a means of getting to know and expressing myself. Just like the saying "You are what you read", I also believe "You are what you shoot". I'm extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate me. They are just similar to life, you never know what you are going to get tomorrow. You may capture many nice shots, or you might come back empty-handed. I'm a street wanderer and I like to watch people. I can linger on the streets all day long without feeling tired or fed up. When I shoot, I focus on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. I reckon framing is crucial to a good photograph, and I've been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which I think is something that every photographer should pay attention to. In my opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Most of the works I submitted were shot during the pandemic in China.. On January 2020, The New Coronavirus Pneumonia (or COVID-19) outbroke in Wuhan, Hubei Province in China and soon spread all over the country. As a result, the Chinese government locked down the whole country, stopped all production activities, restricted intercity transportation, and people were advised not to go outside. I live in Nanjing, Jiangsu Province, a city of 8 million people, and when it was shut down, it was a bit like a ghost town in the beginning, not completely empty, but hard to find people on the streets. However, I found out by the Yangtze River and some parks, there are some citizens. People would go fishing, do sports, exercise or simply relax. So I often go to those places with my camera, trying to capture their life under the influence of Coronavirus. The virus has pressed the pause button for most of us, though it's not a good thing, objectively speaking, it gives us a good opportunity to look inside and review our living states. It offers us a window to slow down and appreciate all the good and beautiful things around us as well. In the meantime, we are also given the possibility to do the things that we always wanted to do. We should cherish it and live in the moment, despite how dreadful the epidemic situation might be, life has to go on. I hope you'll enjoy my works and get to know me better by them.
Formento & Formento
Formento & Formento
United States/United Kingdom
BJ Formento is the light. Richeille Formento is the pigment. This dynamic husband-wife team have made an art of their unique strain of photography. Exuding an eerie sensuality combined with a narrative cinematic sensibility, the ambiguous nature of the characters and scenarios remind us of David Lynch and Hopper-esque landscapes. They couldn’t have landed in the photographic landscape at a more opportune moment. With the enormous interest in their work—success is eminent. Vogue Italia has been a forerunner and loyal supporter of their work, as well as cutting edge magazines like Aesthetica, Blink, Musee and L’oeil de la Photographie. 2012 was a breakthrough year for F+F. They were nominated top finalist to American Vogue’s New Exposure Competition working with Bottega Venetta and Red Digital Camera. In 2014 their works were selected by Alessia Glaviano, photo editor of Vogue Italia and L’Uomo Vogue for a “Glimpse at Photo Vogue” at Carla Sozzani Gallery and in 2015 for “45 Frames from Photo Vogue” at Leica Milan Gallery. Amazing response from the shows at Art Basel Miami Beach, Aipad and Armory NYC. Solo exhibitions across Europe starting in Paris, London, Berlin, Stuttgart and Dusseldorf. Their work also been exhibited in New York at Edelman Arts Gallery in February 2013. The most notable event this year is the publication of their first coffee table book by YK editions, as well as a film to promote the book which has been shown this fall at the Pompidou in Paris. Fahey Klein Gallery has offered them the coveted summer slot and the inaugural exhibition of Japan Diaries. A Photo Shanghai booth dedicated to their works Circumstance, September 2014. The inaugural exhibition of “She is Cuba” at Art Miami 2014 was received with great applause as well as the celebrity studded opening at Miami Fahey Klein and Chrome Hearts during Art Basel 2014. BJ Formento was born in Hawaii and grew up in the Philippines, studied in San Francisco and moved to New York in 1999. Richeille Formento was born in London and attended the prestigious Central St. Martins College of Art before working as an art director and designer in the fashion industry. They split their time between NYC and Miami with their 3 siamese cats.
Izabella Sapuła
Izabella Sapuła
Poland
Polish photographer specializing in fine art photography. She is self-taught and engages in her passion for photography and art as a tool to explore human relationships but also relationships with herself or the surrounding nature. Her psychological education and the fact that she grew up among animals in a house on the edge of the forest are clearly visible in her photographs. The direction of her work is determined by a longing for understanding and deeper view of human and his unity with the natural world.
Phil Stern
Phil Stern
United States
1919 | † 2014
Phil Stern was an American photographer noted for his iconic portraits of Hollywood stars, as well as his war photography while serving as a U.S. Army Ranger with "Darby's Rangers" during the North African and Italian campaigns in World War II. Settling in Los Angeles after the war, Stern was staff photographer for Look magazine. He also worked for Life magazine and Collier's. He was present on numerous film productions as still photographer, and in that capacity took photographs of a huge cross-section of the film community. Stern's images of Marilyn Monroe, James Dean, Marlon Brando and even musician Louis Armstrong have become widely recognized icons. A lifelong smoker, Stern died at the age of 95 in Los Angeles from COPD and congestive heart failure which he had been battling for over three and a half decades.Source: Wikipedia I’ve taken mountains and mountains of stuff, which I occasionally describe as mountains and mountains of shit. It so happens, there’s a little gem here and a little gem there. You dig out those gems. -- Phil Stern Phil Stern created portraits of stars of the silver screen – including James Dean, Marlon Brando and Marilyn Monroe – that were both iconic and intimate. His subjects looked natural, even self-absorbed or introverted. The lower half of his most famous portrait of James Dean (1955) is a black cable-knit jumper; the upper half reveals Dean’s face only from halfway up his ears. His eyes are rolled up, framed by straight eyebrows. The white plane of Dean’s forehead under a shiny shock of tousled hair, and the pale background, inevitably draw attention to those mischievous eyes, bisecting the frame and challenging the viewer. By contrast, one 1953 image of Marilyn Monroe shows her as wistful and withdrawn, looking into the distance with an air of abstraction, her hands nervously fingering the loosened bow at the waist of her gown. As Stern told Entertainment Weekly in 1993: “I was never interested in the glamour, I was interested in the tears and agony behind it.” His friendship with John Wayne gave him access to perhaps his most subversively casual image. It shows Wayne lighting up, eyeline going straight to a woman’s bared leg. But it’s not what he’s doing but what he’s wearing that draws the viewer’s eye: the cowboy hat and loose jacket conform to type, but below the waist the over-constricting gingham shorts, plump legs and girly espadrilles are a risible disaster. Stern’s pictures of musicians are very different in character. Formal ones – such as of the Rat Pack on stage in 1962 – are mainly of lineups. One senses his preference for the moodiness of Sinatra alone, shot from behind and dressed – as if by Raymond Chandler – in a hat and long mackintosh, pacing down a bleakly dirty corridor towards a dead end. Another Rat Pack member, Sammy Davis Jr, performed a rooftop diamond-shaped jump. Despite his tightly drawn up (and shiny) brogues, his white outfit and right-angled arms with their delicately spread fingers are reminiscent of a Hindu dancer (1947). Stern loved jazz, and he photographed Louis Armstrong in a coincidentally similar pose, not jumping but perched on a stool, trumpet upended on his knee as he looks down and laughs into his chest (1957). Stern enjoyed the image so much that he made a lifesize cardboard cutout of it, and had his own portrait taken alongside. A less artfully composed shot shows Armstrong and Ella Fitzgerald together, in full swing, singing at a studio recording. There was more to Stern’s career than showbiz, however. He enlisted as a combat photographer in the second world war, and won a Purple Heart for his courage and willingness to risk his life picturing infantrymen under fire. Stern documented US troops advancing through north Africa, and was invalided home with severe shrapnel wounds to his arms and neck. In 1943 he returned to cover the Allied invasion of Sicily for Stars and Stripes, the US army magazine. According to his biographer, the journalist Herbert Mitgang: “His pictures of the invasion and its aftermath remain among the most outstanding documents in the annals of combat photography in any war, before or since.” The postwar decades saw a media boom: the heyday of photo magazines and blockbuster movies aimed at a predominantly young mass audience. Stern rode the publicity of a new generation of stars who became, at least in part through his attention, poster pinups. Interviewed later by the Los Angeles Times, he mused on his transfer from war to celebrity photography. “ [The war] very well might have helped me get access ... I don’t really know for sure, because some of them wanted publicity so bad that you didn’t have to have a Purple Heart for that. All you had to have was an expensive camera.”Source: The Guardian Look, Matisse I ain’t. You know how they have on the invitations, “a reception for the artist will be held at...” And I say, “Look, you gotta change this. I’m not an artist. I’m a photographer, a skilled craftsman.” -- Phil Stern
Martin Parr
Martin Parr
United Kingdom
1952 | † 2025
Martin Parr is a British photojournalist, documentary photographer, and collector of photobooks. He is renowned for his photography works that critically examine various facets of contemporary society, particularly English suburban and rural life. Since 1994, Martin Parr has been a member of Magnum Photos. Parr, who was born in Epsom, Surrey, intended to be a documentary photographer since he was fourteen, and credits his grandpa, an amateur photographer, as an early inspiration. He studied photography at Manchester Polytechnic from 1970 to 1973. In 1980, he married Susan Mitchell, and they have one child, Ellen Parr (born 1986). He has been a resident of Bristol since 1987. Spain. Benidorm. 1997Courtesy Magnum Photos / © Martin Parr Martin Parr began his career as a professional photographer and has taught photography on and off since the mid-1970s. He was first recognized in the north of England for his black-and-white photography, Bad Weather (1982) and A Fair Day (1984), but switched to color photography in 1984. Last Resort: Photographs of New Brighton, the resulting work, was published in 1986. Martin Parr has nearly 100 books published and has been featured in over 100 exhibitions worldwide, including one at the Barbican Arts Centre in London. His retrospective exhibition was chosen as the main show for Singapore's Month of Photography Asia in 2007. In 2008, he was named Honorary Doctor of Arts at Manchester Metropolitan University (MMU) in recognition of his ongoing contributions to photography and MMU's School of Art. The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express. -- Martin Parr Martin Parr's documentary photography style is intimate, anthropological, and satirical. Macro lenses, ring flash, high-saturation color film, and, since it became a more convenient format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, allowing them to expose their lives and values in ways that often involve inadvertent humor. For example, in order to create his book Signs of the Times: A Portrait of the Nation's Tastes (1992), Parr went into ordinary people's homes and photographed the mundane aspects of his hosts' lives, combining the images with quotes from his subjects in order to bring viewers uncomfortably close to them. The end result of Parr's technique has been described as ambiguous emotional reactions, with viewers unsure whether to laugh or cry. IRELAND. Galway. Galway Races. 1997Courtesy Magnum Photos / © Martin Parr Parr is also a curator and editor. He has curated two photography festivals, one in Arles in 2004 and the other in Brighton in 2010. Parr recently curated the Strange and Familiar exhibition at the Barbican. Many major museums, including the Tate, the Centre Pompidou, and the Museum of Modern Art in New York, have acquired Martin Parr's work. In 2017, Martin Parr established the Martin Parr Foundation. Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs. -- Martin Parr
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AAP Magazine #55 Wmen
Win a Solo Exhibition in March
AAP Magazine #55 Wmen

Latest Interviews

Exclusive Interview with Anastasia Samoylova
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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Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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AAP Magazine #55 Women
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