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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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Paul Gibert
Paul Gibert
Paul Gibert

Paul Gibert

Country: United States
Birth: 1969

Paul Gibert has been shooting black and white images of urban environments and nature landscapes for the past nine years. From the streets of Los Angeles to landscapes of Chile in South America the camera has always been with him to capture what he sees. Light and composition are the foundation of the images that are as much about the subject as they are about capturing a mood.
 

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Mária Švarbová
Slovakia
1988
Mária Švarbová was born in 1988; she currently lives in Slovakia. Despite studying restoration and archeology, her preferred artistic medium is photography. From 2010 to the present, the immediacy of Maria's photographic instinct continues to garner international acclaim and is setting new precedents in photographic expression. The recipient of several prestigious awards, her solo and group exhibitions have placed her among the vanguard of her contemporaries, attracting features in Vogue, Forbes, The Guardian, and publications around the world; her work is frequently in the limelight of social media. Maria's reputation also earned her a commission for a billboard-sized promotion on the massive Taipei 101 tower, in Taiwan. Maria's distinctive style departs from traditional portraiture and focuses on experimentation with space, colour, and atmosphere. Taking an interest in Socialist era architecture and public spaces, Maria transforms each scene with a modern freshness that highlights the depth and range of her creative palette. The human body throughout her oeuvre is more or less a peripheral afterthought, often portrayed as aloof and demure rather than substantive. Carefully composed figures create thematic, dream-like scenes with ordinary objects. Her images hold a silent tension that hints at emergent possibilities under the lilt of clean and smooth surfaces. There is often a sense of cool detachment and liminality in Maria's work. Routine actions such as exercise, doctor appointments, and domestic tasks are reframed with a visual purity that is soothing and symmetrical and at times reverberant with an ethereal stillness. The overall effect evokes a contemplative silence in an extended moment of promise and awareness—a quality difficult to achieve in the rapid pace of modern life. Maria's postmodern vision boldly articulates a dialog that compels the viewer to respond to the mystery, loneliness, and isolation of the human experience. Nevertheless, deeply embedded within the aqueous pastels, Maria's compositions hold to a celebratory elegance that transforms the viewer's gaze into an enduring reverence for life's simple beauty. Hasselblad Master 2018 Forbes 30 under 30 Winner of International Photography Awards 2016 Swimming Pool In the Swimming Pool is Maria's largest series yet, originating in 2014 and continuing to develop to date. Sparked by a hunt for interesting location, her fascination with the space of public swimming pools contributed to developing her visual style. Sterile, geometric beauty of old pools set the tone for these photographs. Each of them pictures a different pool, usually built in the Socialist Era, in various locations in Slovakia. There is almost cinematographic quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colours softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. There is no disturbing emotion, there is no individuality in their stillness. The artificial detachment, created by Maria's visual vision, allows unique visual pleasure, unattainable in real life.
Ilse Bing
Germany
1899 | † 1998
Ilse Bing was one of the leading European photographers of the interwar period. She was born into a comfortable Jewish family in Frankfurt, Germany, in 1899. As a child her education was rich in music and art. In 1920 she began studying mathematics and physics at the University of Frankfurt, but soon changed to study the history of art. In 1924 she continued her studies with a doctorate on the Neo-Classical German architect Friedrich Gilly. Bing's introduction to photography was triggered by a practical need to illustrate her doctoral thesis. She bought a Voigtlander camera in 1928 and began to teach herself photography. The following year she bought a Leica, the new and revolutionary 35mm hand-held camera that enabled photographers to capture fast-moving events. As well as enabling her to photograph buildings for her thesis, Bing's newfound skill with the camera earned her an extra living as a photojournalist for a German illustrated magazine supplement, Das Illustriete Blatt. During these early days of her career, Bing was also commissioned by the Dutch modernist architect Mart Stam, who taught at the Bauhaus school of design, to visually record all of his housing projects in Frankfurt. The resulting photographs were characterized by dizzy angles, flat planes and strong shadows, which were characteristic of an emerging modernist language of art and design, pioneered by both the new architecture and the 'New Photography' movement, of which Bing was beginning to be a part. Through Stam, Bing was also introduced to Frankfurt's avant-garde artistic circles. Having found some commercial success with photography, and with her artistic horizons expanding, Bing gave up her thesis in the summer of 1929 and, in 1930, decided to move to Paris to concentrate on photography. Establishing herself in Paris as a freelance photographer, she applied elements of the photographic style she had experimented with in Frankfurt to commercial work, including photojournalism, architectural and theatrical photography, advertising, fashion and portraiture. For the first couple of years in the city, she published her work regularly with German newspapers and Das Illustriete Blat. Gradually, she also started to publish work in the leading French illustrated newspapers such as L'Illustration, Le Monde Illustré and Regards, and from about 1932, she increasingly worked for fashion magazines Vogue, Adam, Marchal, and the American Harper's Bazaar. She explored Paris' rich historic past and its worn and weathered environments as well as its modern urban scenes, photographing the exhausted grandeur of the Père Lachaise cemetery, dark apartment blocks reflected in gutters, or the layering of torn posters on a wooden fence. Her fascination with shadow, contrasts of light and dark, and basic geometrical shapes also informed her portraiture. Her photograph of a young girl (Flower Girl, 1931) staring into the distance demonstrates her skill as a portraitist. The large flowers in the background contrast with the delicate bright flowers on the girl's dress, and the shadows behind highlight the bright young face. When on assignment, Bing would take extra pictures for her own artistic interests, and she quickly built up a large body of work. During a commission to photograph the famous Moulin Rouge cabaret, for example, she made a series of photographs of dancers, which formed her first exhibition in Paris in 1931. Later that year, her photographs caught the attention of the photographer and critic Emmanuel Sougez, who praised their dynamism. Nicknaming Bing 'the Queen of the Leica', Sougez continued to be an important and influential supporter of her work throughout the 1930s. In 1931 Bing met the New York-based writer Hendrik Willem van Loon, who became her most important patron and introduced her work to American clients. Van Loon showed her work to the collector and gallerist Julien Lévy, who subsequently displayed her work in the exhibition Modern European Photography: Twenty Photographers at his New York Gallery in 1932. Bing also frequently exhibited in Parisian galleries, where her work was shown alongside that of Brassaï, Henri Cartier-Bresson, Florence Henri, Man Ray and André Kértesz. In a trip to New York, Bing met Alfred Stieglitz, a leading figure in the American photographic world and great supporter of modern photography. We can see the influence of Stieglitz's vision on the photographs Bing made of the city following their meeting. In Bing's image of a carriage in Central park, the cropped dark outline of the carriage and its driver dominate the composition, providing a stark contrast to the wispy trees and gentle cityscape in the background – stylistically reminiscent of Stieglitz's work The Terminal (1892). Bing also absorbed the styles of other contemporary American artists – some of whom she met through Stieglitz. Her street scenes, for example Barber College, New York (1936), can be likened to scenes from contemporary American realist painting. After returning to Paris in 1937, Bing married the German pianist Konrad Wolff, whom she had met in 1933 when they lived in the same block of flats. Bing kept her maiden name for her photographic activities, but also used the name Ilse Bing Wolff. She took fewer photographs during the late 1930s, though she continued to find inspiration in Paris, and explored different subject-matter, including still life work. The outbreak of the Second World War changed everything. In 1940 Bing and Wolff, who were both Jewish, were forced to leave Paris and were interned in separate camps in the south of France. Bing spent six weeks in a camp in the Pyrenees, before rejoining her husband in Marseille. The couple spent nine months there, awaiting visas for the US. Eventually, with the support of the fashion editor of Harper's Bazaar, they were able to leave for the US in June 1941. Although Bing had managed to take her negatives with her, she left all of her prints behind in Paris under the safekeeping of a friend. They were sent on to Marseille but Bing and her husband had left already France by the time they arrived. The prints remained in Marseille – in a shipping company's warehouse – miraculously missing the many bombs that fell on the port, until the end of the War, when they were finally sent to Bing in New York. Tragically, when they arrived, Bing was unable to pay the customs duty for all of them. She had to sift through the prints and decide which to keep and which to throw away – some of her most important vintage prints were lost at this time. Five years after her successful visit to New York in 1936, Bing returned to an altogether different environment. This was partly due to changing fashions in photography, and partly because of the large number of photographers who had, like Bing, fled Europe and were now seeking work. Bing found it hard to gain commissions for reportage work and worked much less as a photojournalist from this point on, though she continued to take portraits – especially of children – and exhibited her work throughout the late 1940s and early 1950s. Bing returned to Paris twice after the war, in 1947 and in 1952, and once again photographed the city that she had loved so much in the 1930s. According to Bing, these later Paris photographs are infused with a different spirit. Influenced by the war, she saw things on a more impersonal, isolated level. In the late 1950s, Bing eventually gave up photography, wanting to make more abstract work through poems and line drawings, and later, collage.Source: Victoria and Albert Museum
Jaromír Funke
Czech Republic
1896 | † 1945
Jaromír Funke (1896–1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of “photographic games” with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life’s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke’s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of “pure” photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vidí povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografický obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
Esmeralda Ruiz
United States
Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today. A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream. Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day. As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.Source: Esmeralda Ruiz Website
Marco Gualazzini
Born in Parma in 1976, Marco Gualazzini began his career as a photographer in 2004, with his home town's local daily, La Gazzetta di Parma. His works include reportage photography on microfinance in India, on the freedom of expression in Myanmar, on the discrimination of minorities in Pakistan. For the last few years he has been covering Africa extensively. He devised and took part in the creation of a documentary for the Italian national TV network RAI on the caste system in India, which has been selected at IDFA- The International Documentary Film Festival Amsterdam, and has been awarded with the Best Camera Work Award at the Aljazeera International Documentary Film Festival 2014. Gualazzini published in national and international titles and he has received numerous accolades, including the Getty Images Grant for Editorial Photography, the PDN and the World Press Photo. Represented by CONTRASTO Agency Resilient is his first book and it's published by ContrastoBooks PUBLICATION: The New York Times, GEO, Al-Jazeera, Paris Match, LIGHTBOX- TIME magazine, Courrier International, L'Express, 6Mois, Internazionale, L'Espresso, InsideOver, CNN, M (Le Monde), Der Spiegel, The Sunday Times Magazine, Newsweek Japan, and Vanity Fair. AWARDS: Nomination award HPA2011- the Humanity photo awards 2011 Finalist CGAP 2011- Microfinance Photograpy contest Short-Listed, premio internacional de fotografia humanitaria Luis ValtueÑa 2011 Short-Listed 3rd Lumix Festival for Young Photojournalism, Hannover 2012 Silver Medal, category press-war, Prix de la Photographie 2013 Premio giornalistico Marco Luchetta- Miran Hrovatin 2013, 1st Prize Getty Images Grants for Editorial Photography Recipient 2013 Short Listed Premio giornalistico Internazionale Marco Luchetta - Miran Hrovatin 2014 Lucie Fondation, Photo Taken Scholarship Recipient 2015 Winner in PDN Photo Annual photo contest 2016 Final 100 to The Other Hundred Educators, The Other Hundred 2016 Photographer of the year All About Photo Awards, 2017 Short Listed - Premio giornalistico Internazionale Marco Luchetta 2017 Wiki Loves Africa, 2nd Prize All About Photo Awards 2019, 4th Prize Wiki Loves Africa, 1st Prize World Press Photo 2019 Photo Contest, Environment, Stories, 1st Prize EXHIBITIONS & SCREENINGS: Palazzo Pigorini, Collettiva sulla città con i fotografi NEOS, Parma, Italy, 2009 Galleria d'arte Camera Sedici, Storie in tre scatti, Milano, Italy, 2010 FoFu Phot'arte, Festival internazionale fotografico, Fucecchio (FI), Italy, 2011 Medicos del Mundo, premio Luis ValtueÑa, Madrid, Spain, 2011 The Humanity photo awards, Memories of Mankind VII, con il patrocinio dell' UNESCO, Beijing, Cina, 2011 3rd Lumix Festival for Young Photojournalism, Hannover, Germany, 2012 Angkor Photo Festival, Angkor, Cambodia, 2013 Les Rencontres d'Arles, Screening, Arles, France, 2013 Visa pour L'image, Screening, Perpignan, France, 2013 'Italy. Another View' Vadehra Art Gallery, India Art Fair, NSIC Exhibition Grounds, New Delhi, India, 2014 One Day in Africa - Spazio Oberdan, Milan, Italy, 2014 "One World" - Photofestival Horizonte, Zingst, Germany, 2014 Angkor Photo Festival, Screening, Angkor, Cambodia, 2015 World Humanitarian Summit, Istanbul, Turkey, 2016 Pune Biennale, Pune, India, 2017 Visa pour l'image, Screening in Campo Santo, Perpignan, France, 2017 Spazio Forma Meravigli, solo exhibition , Milan, Italy, 2019 Palazzo Pigorini, solo exhibition , Parma, Italy, 2019 World Press Photo, World Wide, 2019 RESILIENTI2020 - Installation Art Città di Parma, Parma, 2020
Peter Ydeen
United States
1957
Peter Ydeen is a photographer and artist currently living in Easton, Pennsylvania, working in New York City, and frequently traveling abroad. He works within the now-established tenet of Urban Landscape Photography, celebrating the complexity and beauty of the mundane world. Although his work draws inspiration from New Topographics, his photographs depart from its stoic aesthetic, embracing the ethereal layering typical of a romantic. His work is introspective and pictorial in nature, and has found inspiration in the poetics of George Tice, the playful lyricism of Paul Klee, the readymades of Marcel Duchamp, and the eccentric energy of Charles Burchfield—elements that seem to bring the work together as if in the setting of an E.T.A. Hoffmann tale. The thrust of Ydeen’s work has been the night series Easton Nights; however, he has also created several other series, including Waiting for Palms, shot in Egypt and Morocco; Commuter Motions, a motion study of his commute from Easton to New York City; Black White and Gray, a more traditional monochrome series also shot along the Interstate 78 corridor from Easton to New York; Valley Days and its subset Valley Days Rondels, a series of daylight shots in the Lehigh Valley; and finally, the ongoing series Away, which studies urban landscapes Ydeen encounters on his travels. All of these works have found their way into many books and publications, as well as into numerous creative exhibitions. Ydeen received his BA in painting and sculpture at Virginia Tech under Ray Kass, and his MFA in painting and sculpture at Brooklyn College (Fellowship) under Robert Henry, Phillip Pearlstein, and Alan D’Arcangelo, followed by a scholarship to the Skowhegan School of Painting and a fellowship to the Sculpture Center in NYC. Following his education, he made his way as a technician in a number of fields, including technical illustration, industrial set construction, display, architectural drafting, and model making. He was the Director of Joseph Zelvin Models, where he built finished models for many architects, including Philip Johnson, Michael Graves, and Robert Stern, and for several years ran the model shop for the visionary architect Emilio Ambasz, with many of Ydeen’s models being published and exhibited. This period of exacting craftsmanship later became an important foundation for his immersive three-dimensional photography installations and hand-built framing techniques applied to his many exhibits. After meeting his wife, the art dealer Mei Li Dong, and with the help of African art dealer and scholar Marc Leo Felix, they opened the gallery Arts du Monde Inc. in New York City, selling African, Chinese, and Tibetan art and presenting a number of important exhibitions. This experience furthered his knowledge of display, working with designers such as Joaquin Carter, as well as enabling him to handle a vast cross-section of art daily, providing a humbling lesson in the aesthetics and history of those traditions. Easton Nights Easton Nights is a story which grew from the unique and uncommon valley in which the city lies; and is told with the images of unpeopled landscapes taken at night. Here, in the small hours, the world we see as mundane, cascades into dream. Like a surreal scene from a Guillermo del Toro film, trash bins and Toyotas, stop signs and doorways; all become animated. They lean; they stretch, and emanate, all with umbrageous hues, which seem to exhale from the nights own personal color wheel. Scattered signs give the words, marking our place in time, while the geometries show our relentless effort to arrange our world in a box. These are our stages, with the houses our beehives, the machines our toys, and the doors our portals. Complete they are a mimesis of our daily life, as can only shown in the mystical emptiness of night. Then with the dawn comes the beginning, where we all wake, then act; all while these magical and romantic worlds return to sleep. WAITING FOR PALMS Waiting for Palms is a series of urban landscape photographs taken in two corners of North Africa—Morocco and Egypt—that reflect their contrasting peoples and places with a gestalt that is private and colorful, foreign yet familiar, and often fiercely guarded. The photographs capture a world brought inward only to reemerge through the landscapes' 'spirit of place,' where every corner is layered with an unusual elegance and underlying beauty—a waiting and wanting—all presented to us as if the seen world is built on top of a myriad of swallowed dreams. BLACK WHITE and GRAY Black White and Gray is a series of urban landscape photographs shot along the eighty mile I-78 corridor, beginning in Pennsylvania’s Lehigh Valley, traveling through a cross section of both desolate and urbanized New Jersey, and then landing in the core of New York City. These are Images living in the mid tones, which find their origins in the stoic tenets of New Topographics only to wander towards a more romantic embrace of the animism of our places; a quality so often unseen in our daily life. This is a Lewis Baltz industrial park with a Bertolucci perspective, or a Robert Adams trailer topped with a Fragonard Cloud. Here, geometry melds with movement, sometimes contorted. cluttered or even stretched like a rubber band, while still presenting a respect of the classic, formal and academic qualities of our built environment. There is an overlay of chimerical wonderment which reflects the dreams and concerns of the countless stream of unobservant passersby who traverse these spaces daily. Gray, both in tone and subject matter, this is a study built with tensions which then lay us down in an elegant romance, interacting with both the monumental shapes and structures which move from simplicity into the cacophony of our urban landscape. Commuter Motions Traveling from the industrial town of Easton, Pennsylvania, through sparsely populated western New Jersey, and into the cacophony of New York City, Commuter Motions is a photography series that develops from the experiential capture of an eighty-mile commute. By opposing the usual fixity of photography, the series attempts to capture the energy and movement of that commute using an almost Bergsonian approach, which, through time-lapse, builds images from segments of a continuous dynamic. These photographs are not about the specificity of a “decisive moment” but are more in line with the thoughts and theories of late 19th and early 20th-century artists, who were immersed in the concepts of perpetuity, fleeting moments, change, chance and dynamism. Time surfaces as a fourth verity, adding to Robert Adam’s three: geography, biography and metaphor. It is that fourth that which gives us not a moment in time, but instead, a cross-section of a continuum. The usually narrow focus of our memory is substituted with an accumulation of peripheral vision, which creates an image reflecting the gestalt of these movements, a gestalt we perceive and experience but do not visually remember. Through this unusual form of capture, Commuter Motions frames the labyrinth of oscillating movements of our highways, bridges, and cities into photographs that reflect the élan vital of our daily commute. Winner AAP Magazine 45 Travels
Lewis Carroll
United Kingdom
1832 | † 1898
Charles Lutwidge Dodgson (27 January 1832 - 14 January 1898), better known by his pen name Lewis Carroll, was an English writer of world-famous children's fiction, notably Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. He was noted for his facility at word play, logic and fantasy. The poems Jabberwocky and The Hunting of the Snark are classified in the genre of literary nonsense. He was also a mathematician, photographer and Anglican deacon. Carroll came from a family of high church Anglicans, and developed a long relationship with Christ Church, Oxford, where he lived for most of his life as a scholar and teacher. Alice Liddell, daughter of the Dean of Christ Church, Henry Liddell, is widely identified as the original for Alice in Wonderland, though Carroll always denied this. Photography (1856–1880) In 1856, Dodgson took up the new art form of photography under the influence first of his uncle Skeffington Lutwidge, and later of his Oxford friend Reginald Southey. He soon excelled at the art and became a well-known gentleman-photographer, and he seems even to have toyed with the idea of making a living out of it in his very early years. A study by Roger Taylor and Edward Wakeling exhaustively lists every surviving print, and Taylor calculates that just over half of his surviving work depicts young girls, though about 60% of his original photographic portfolio is now missing. Dodgson also made many studies of men, women, boys, and landscapes; his subjects also include skeletons, dolls, dogs, statues, paintings, and trees. His pictures of children were taken with a parent in attendance and many of the pictures were taken in the Liddell garden because natural sunlight was required for good exposures. He also found photography to be a useful entrée into higher social circles. During the most productive part of his career, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron, Michael Faraday, Lord Salisbury, and Alfred Tennyson. By the time that Dodgson abruptly ceased photography (1880, over 24 years), he had established his own studio on the roof of Tom Quad, created around 3,000 images, and was an amateur master of the medium, though fewer than 1,000 images have survived time and deliberate destruction. He stopped taking photographs because keeping his studio working was too time-consuming. He used the wet collodion process; commercial photographers who started using the dry-plate process in the 1870s took pictures more quickly.[62] Popular taste changed with the advent of Modernism, affecting the types of photographs that he produced. He died of pneumonia following influenza on 14 January 1898 at his sisters' home, "The Chestnuts", in Guildford. He was two weeks away from turning 66 years old. His funeral was held at the nearby St Mary's Church. He is buried in Guildford at the Mount Cemetery.Source: Wikipedia
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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.
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.
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.
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.
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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