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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Ruvén Afanador
Ruvén Afanador

Ruvén Afanador

Country: Colombia
Birth: 1959

Ruvén Afanador is an internationally renowned photographer of limitless imagination, powerful vision and profound sense of self. He was born in Colombia, and his proud Latin American heritage has inspired his extensive body of work creating an intensely personal language characterized by the balance of bold emotion and delicate nuance.

The expressive images in his six books: Torero, Sombra, Mil Besos, Ángel Gitano, Yo seré tu espejo and Hijas del Agua, and his portraiture and fashion editorials, reveal extravagant dreamlike sequences that seem to emerge from Afanador’s original imagination already full grown, always splendid sometimes mischievous, often decadent, all steeped in classic formality.

Ruven’s work has appeared in countless publications including New York Magazine, Vanity Fair, Rolling Stone, The Hollywood Reporter, Billboard, The New York Times Magazine, numerous Vogue editions, Tatler, Elle, and The New Yorker.

His personal projects have been exhibited in Galleries and Museums in Spain, Italy, Colombia, Argentina, Japan and the United States. His most recent exhibition was at the National Museum of Colombia in Bogota this past winter and spring 2021 and it comprised 60 large format photographs from his Hijas del Agua book project paying homage to the indigenous cultures that have inhabited Colombia for thousands of years.

He lives in New York City from where he continues his career photographing the emblematic figures of contemporary fashion, music and film, as well as his personal book projects, always challenging the conventional definitions of gender and beauty.

Source: Sarah Laird & Good Company


Ruven Afanador was born in Colombia, in the sixteenth century city of Bucaramanga, La Ciudad de los Parques high in the scenic plateau above the Rio de Oro. He lived there until adolescence, surrounded by breathtaking mountains and immersed in old traditions and enchanting rituals that imbued everyday life with mystery and wonderment. Religious ceremonies involved the meticulous costuming of saints and marked every holiday, turning narrow colonial streets into rich visual feasts where ordinary objects acquired symbolic meaning; elaborate beauty pageants showcased glamorous women of deliberate beauty and intentional charm; and long hours were filled with the reading of adventure books or listening to the improbable tales of those coming back from journeys abroad, a peculiar form of imaginary traveling which nurtured an intense curiosity for faraway places.

At fourteen, Afanador moved to the United States to attend school in the Midwest, right in the American heartland, a starkly different place from the magical world of his childhood, but one he saw as full of possibilities. And then, while studying art, he discovered photography. “From my first assignment I knew that photography would be my life’s passion”, says Afanador. With that passion, he would transform ordinary reality into captivating splendor. Or, as he himself puts it, “....into my way of seeing things.”

After graduation Afanador spent two years in Washington, DC, gaining distinction as a fashion photographer of audacious taste, as well as a portraitist with an original and inventive eye. In 1987 he moved to Milan to broaden his vision, hone his technical skills and build a portfolio. Lack of studio space in the Italian city, forced him to develop techniques for photographing outdoors, in alleyways and streets, on the steps of churches and palazzos, incorporating backgrounds to frame images with texture and depth, a highly conceptual approach that Afanador uses to this day. While in Italy, he also discovered the type of model, that was to become his prototype: interesting rather than conventionally beautiful, of sculpted neck and arms, and the graceful long torso for centuries favored by painters----enigmatic and timeless.

He returned from Italy in 1990 with an impressive portfolio, settling in New York and soon coming to the attention of editors at the major magazines. Since then, his distinct fashion editorials, signature advertisements and iconic portraits of the emblematic beauties and powerful male figures of the worlds of contemporary art, literature, music and film, have constantly appeared in the world’s leading fashion, celebrity and portrait magazines. His work has been the subject of numerous exhibitions and installations in galleries, museums and outdoor spaces in Latin America, Europe, Asia and the United States.

Source: Fahey/Klein Gallery


 

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More Great Photographers To Discover

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
Oliver Raschka
Germany
1975
Oliver Raschka is a self-taught photographer and holds a doctorate in behavioral economics. His focus is on the visual sociology of the everyday with an emphasis on trauma, identity, the family narrative, youthhood and adolescence. With more than 20 years of experience as an expert on behavioral issues in markets and organizations, he is able to capture the dynamics and peculiarities of social relationships in his photographs. This experience also helps him better understand the nature of psychological effects. For many years, the self-taught photographer has been exploring the theme of family and the search for identity in documentary form. A project that documented the everyday life of two brothers from childhood to adolescence over a total of fifteen years is the subject of two books. Oliver Raschka lives in Stuttgart, Germany. Sorrow Is All The Pain Of Love: Sorrow Is All The Pain Of Love is a visual diary exploring sorrow, trauma and identity. Oliver Raschka investigates how depression, personal traumas caused by drastic events, addiction issues in the family, and deep burnout manifest visually. It’s archival work with photographs from 2004-2025. By using photographs taken unintentionally and unconsciously, Oliver Raschka gains authentic and deep access to what really concerns. The confrontation with visual narratives through active trauma therapy enables alternative possibilities for action. The photographs often represent the symptoms or results of much deeper events that have shaped and preoccupied (unconsciously) a lifetime. The recontextualization of decontextualized photographs from the archive leads to a reawakened sensitivity for the original events. In essence, the work offers a deeper psychogram, showing how the unintentional and unconscious documentation of mental states in search of one's own identity are transformed into photographs in order to process these sensations. As dark as the photographs may appear, everything is ultimately infused with light, which promotes strength, inner power and clarity. The work is therefore about healing and growth and about strengthening mindfulness. Awarded Photographer of the Week - Week 28
E. J. Bellocq
United States
1873 | † 1949
Ernest Joseph Bellocq was an American professional photographer who worked in New Orleans during the early 20th century. Bellocq is remembered for his haunting photographs of the prostitutes of Storyville, New Orleans' legalized red-light district. These have inspired novels, poems and films. Bellocq was born into a wealthy family of French créole origins in the French Quarter of New Orleans. He became known locally as an amateur photographer before setting himself up as a professional, making his living mostly by taking photographic records of landmarks and of ships and machinery for local companies. However, he also took personal photographs of the hidden side of local life, notably the opium dens in Chinatown and the prostitutes of Storyville. These were only known to a small number of his acquaintances. He had been something of a dandy in his early days, while he lived alone in the latter part of his life and acquired a reputation for eccentricity and unfriendliness. According to acquaintances from that period, he showed little interest in anything other than photography. Bellocq died in 1949, and was buried in Saint Louis Cemetery No. 3 in New Orleans. After his death, most of his negatives and prints were destroyed. However, the Storyville negatives were later found. After many years, they were purchased by a young photographer, Lee Friedlander. In 1970, a show of Friedlander's posthumous prints on gold tone printing out paper from Bellocq's 8" x 10" glass negatives were mounted by curator John Szarkowski at the Museum of Modern Art in Manhattan. A selection of the photographs were also published concurrently in the book, Storyville Portraits. These photographs were immediately acclaimed for their unique poignancy and beauty. A more extensive collection of Friedlander's prints, entitled Bellocq: Photographs from Storyville, was published with an introduction by Susan Sontag in 1996. In recent times, a significant number of prints from Bellocq's own studio have come to light. They are typical professional photographs of the day, such as portraits, copy work for the Louisiana State Museum, and local views, yet few if any Storyville portraits printed by Bellocq's hand exist. A number of early posthumous prints from Bellocq's negatives by photographer Dan Leyrer have also surfaced. The Storyville photographs All the photographs are portraits of women. Some are nude, some dressed, others posed as if acting a mysterious narrative. Many of the negatives were badly damaged, in part deliberately, which encouraged speculation. Many of the faces had been scraped out; whether this was done by Bellocq, his Jesuit priest brother who inherited them after E. J.'s death or someone else is unknown. Bellocq is the most likely candidate, since the damage was done while the emulsion was still wet. In a few photographs the women wore masks. Some prints made by Bellocq have since surfaced. These are far more conventional than the full-negative prints made by Friedlander. The Storyville photographs not only serve as a record of the prostitutes, but also the interiors of the businesses that housed them.
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United Kingdom/United States
The British-born, New York-based photographer Phil Penman has documented the ever-changing scene of New York City’s streets for more than 25 years. In his career as a news and magazine photographer, with a large body of work in such publications as The Guardian, The Independent, The New York Review of Books, among others, he has photographed major public figures and historical events. In particular, his reportage following the September 11, 2001 terrorist attack on the World Trade Center has featured on NBC’s Today show, as well as on the BBC, History Channel, and Al Jazeera, and his images have been included in the 9/11 Memorial and Museum’s archives. His work covering the pandemic lockdown in New York City has been acquired by the U.S. Library of Congress, whose collection holds work by such great Depression-era documentarians as Walker Evans and Dorothea Lange. Besides showing at Leica galleries in New York, Washington, D.C., Boston, and London, Penman’s signature street photography has appeared in international exhibitions as far afield as Venice, Berlin, and Sydney. He also tours the world teaching workshops on photography for Leica Akademie. He was recently named among the “52 Most Influential Street Photographers,” alongside such legends as Henri Cartier-Bresson, Sebastião Salgado, Diane Arbus, and Garry Winogrand. Penman’s first book, Street, published in 2019, became a best-seller and was featured at the Museum of Modern Art in New York. New York Street Diaries Phil Penman shows the big city on the east coast of the USA from a side that is rarely seen, calm and tranquil. The pictures were taken partly during the great snowstorm and partly during the Corona Lockdown and are thus contemporary witnesses of the pandemic restrictions that completely turned our previously-known world upside down. Born in Great Britain (Poole, Dorset), he has been photographing the streets of New York for well over two decades. He is known, among other things, for his photographs of famous personalities such as Michael Jackson, Madonna, Jennifer Lopez or Bill Gates. When the biggest tragedy in New York's history shook the city on 11 September 2001, Phil Penman was on the spot and created unique footage of the events with his camera. Penman knows how to capture the city in its most sensitive moments in an impressive way. He catches intimate moments in his black-and-white photographs and shows the people and streets of New York City far away from the hustle and bustle. The city life of the metropolis is presented so closely that some pictures inevitably evoke a smile in the viewer. Penman literally catapults his viewer into the scene with a refreshing directness and the feeling of really being present. New York Street Diaries
Bernd and Hilla Becher
In the realm of photography, Bernd and Hilla Becher are celebrated as pioneers whose work not only revolutionized the perception of industrial landscapes but also shaped the course of conceptual photography in the 20th century. Born in Germany, Bernd Becher (1931–2007) and Hilla Becher (1934–2015) met as students at the Kunstakademie Düsseldorf in the late 1950s, where they forged a partnership both personally and professionally that would endure for over five decades. Bernd initially studied painting before shifting his focus to photography under the tutelage of the eminent photographer Otto Steinert. It was during this period that he began to develop his signature style characterized by precise, objective, black-and-white images of industrial structures. Hilla, meanwhile, studied graphic and printing techniques, which would later prove instrumental in the meticulous printing process integral to their photographic work. The couple's collaboration blossomed as they embarked on a lifelong mission to document the vanishing industrial landscape of post-war Germany and beyond. Their photographs primarily featured industrial structures such as mine shafts, water towers, gas tanks, and blast furnaces, meticulously captured with a straightforward, documentary approach devoid of sentimentality or subjective interpretation. What set the Bechers apart was their systematic approach to photography. They meticulously cataloged these structures, arranging them in grids or typologies that emphasized the inherent beauty and functional aesthetics of these often-overlooked forms. Their work transcended mere documentation, offering viewers a profound meditation on the intersection of industry, architecture, and human labor. Throughout their career, the Bechers remained dedicated to their craft, tirelessly traveling across Europe and the United States to capture industrial sites before they disappeared due to modernization and economic shifts. Their influence extended beyond their own photographic output; they also imparted their knowledge and passion for photography as educators at the Kunstakademie Düsseldorf, where they mentored numerous students who would go on to make significant contributions to the field. Bernd and Hilla Becher's legacy endures not only through their extensive body of work but also through the impact they had on subsequent generations of photographers. Their commitment to preserving and elevating the industrial landscape through photography transformed the perception of these structures, elevating them to objects of aesthetic contemplation and cultural significance. Today, their photographs are cherished as timeless artifacts that capture the beauty and dignity of the industrial age, ensuring that their legacy will endure for generations to come.
James Nachtwey
United States
1948
James Nachtwey is an American photojournalist and war photographer. He grew up in Massachusetts and graduated from Dartmouth College, where he studied Art History and Political Science (1966–70). Nachtwey started working as a newspaper photographer in 1976 at the Albuquerque Journal. In 1980, he moved to New York and began working as a freelance photographer. In 1981, Nachtwey covered his first overseas assignment in Northern Ireland illustrating civil strife. He has documented a variety of armed conflicts and social issues, spending time in South Africa, Latin America, the Middle East, Russia, Eastern Europe, the former Soviet Union shooting pictures of war, conflict and famine, and images of socio-political issues (pollution, crime and punishment) in Western Europe and the United States. He currently lives in New York City. In 1994, Nachtwey was covering the upcoming elections in South Africa, the first non-racial ones in decades. As an associate of the Bang-Bang Club, he was at the scene when Ken Oosterbroek was killed and Greg Marinovich was seriously injured. Nachtwey had been injured previously in his work, but it was during his extensive coverage of the United States invasion of Iraq that he received his first combat injury. As Nachtwey, along with Time correspondent Michael Weisskopf rode in the back of a Humvee with the United States Army "Tomb Raiders" Survey Platoon, an insurgent threw a grenade into the vehicle. Weisskopf grabbed the grenade to throw it out of the humvee, but it exploded in his hand. Two soldiers were injured in the explosion, along with the Time journalists. Nachtwey managed to take several photographs of medic Billie Grimes treating Weisskopf before passing out. Both journalists were airlifted to Germany and later to hospitals in the United States. Nachtwey recovered sufficiently to return overseas to cover the tsunami in Southeast Asia of December 26, 2004. Nachtwey has worked with Time as a contract photographer since 1984. He worked for Black Star from 1980 until 1985 and was a member of Magnum Photos from 1986 until 2001. In 2001, he was a founding member of the VII Photo Agency (he disassociated from VII in August 2011). Nachtwey was present during the September 11, 2001 attacks on the World Trade Center, and produced a well known related body of work. He also compiled a photo essay on the effects of the Sudan conflict on civilians. In February 2011, Nachtwey contributed to a controversial piece for Vogue Magazine, which shone a favorable light on Syrian dictator Bashar al-Assad and his family. The article and the photo series were particularly controversial as a peaceful protest movement in the context of the Arab Spring that was gathering steam at the same time, was brutally put down by the Syrian regime's military and secret police services. By December 2011, death toll estimates of the uprising ranged between 3,500 and 5,000, while an approximate 30,000 civilians were imprisoned and, in many cases, tortured severely. Vogue later decided to remove the article from its pages. Nevertheless, the article can still be accessed on the Syrian presidency's own website. Source: Wikipedia James Nachtwey grew up in Massachusetts and graduated from Dartmouth College, where he studied Art History and Political Science (1966-70). Images from the Vietnam War and the American Civil Rights movement had a powerful effect on him and were instrumental in his decision to become a photographer. He has worked aboard ships in the Merchant Marine, and while teaching himself photography, he was an apprentice news film editor and a truck driver. In 1976 he started work as a newspaper photographer in New Mexico, and in 1980, he moved to New York to begin a career as a freelance magazine photographer. His first foreign assignment was to cover civil strife in Northern Ireland in 1981 during the IRA hunger strike. Since then, Nachtwey has devoted himself to documenting wars, conflicts and critical social issues. He has worked on extensive photographic essays in El Salvador, Nicaragua, Guatemala, Lebanon, the West Bank and Gaza, Israel, Indonesia, Thailand, India, Sri Lanka, Afghanistan, the Philippines, South Korea, Somalia, Sudan, Rwanda, South Africa, Russia, Bosnia, Chechnya, Kosovo, Romania, Brazil and the United States. Nachtwey has been a contract photographer with Time Magazine since 1984. He was associated with Black Star from 1980 - 1985 and was a member of Magnum from 1986 until 2001. In 2001, he became one of the founding members of the photo agency, VII. He has had solo exhibitions at the International Center of Photography in New York, the Bibliotheque nationale de France in Paris, the Palazzo Esposizione in Rome, the Museum of Photographic Arts in San Diego, Culturgest in Lisbon, El Circulo de Bellas Artes in Madrid, Fahey/Klein Gallery in Los Angeles, the Massachusetts College of Art in Boston, the Canon Gallery and the Nieuwe Kerk in Amsterdam, the Carolinum in Prague,and the Hasselblad Center in Sweden, among others. He has received numerous honours such as the Common Wealth Award, Martin Luther King Award, Dr. Jean Mayer Global Citizenship Award, Henry Luce Award, Robert Capa Gold Medal (five times), the World Press Photo Award (twice), Magazine Photographer of the Year (seven times), the International Center of Photography Infinity Award (three times), the Leica Award (twice), the Bayeaux Award for War Correspondents (twice), the Alfred Eisenstaedt Award, the Canon Photo essayist Award and the W. Eugene Smith Memorial Grant in Humanistic Photography. He is a fellow of the Royal Photographic Society and has an Honorary Doctorate of Fine Arts from the Massachusetts College of Arts. Source: www.jamesnachtwey.com
Mohammad Sorkhabi
Mohammad Sorkhabi was born in Mashhad-Iran in 1985. He has been engaged in portrait photography since 2013. Most of his artworks are inspired by Renascence and Baroque portrait paintings so he mostly uses the classical lighting techniques and pictorial editing of the works with a subtle expression-filled by emotions and poetic feelings that indicate social issues. Mood Photography is the style of Mohammad which makes the audience communicate with the poetic feeling of his art better. His portraits emphasizing on social issues through deep abstract feelings and delicate expressions in the eyes of his models. Awards: Fine Art's first reward in Canada Tirgan Festival-2015. Two artworks of him have been chosen for the final section and have been displayed in Malaysia-Kuala Lumpur portrait contest-2015. Also second and third place in beauty and portrait category and four honorable mention in Moscow photo awards(MIFA)-2015. Winning medal in Asahi Shimbun photo contest, Japan 2017 Mourning for the father War is defined as a long-term structured conflict involving the use of arms and weapons between nations, governments and different groups, which is associated with severe hostility, social disruption, and excessive financial loss and casualties. Today, we constantly witness such conflicts across the world, with the media spotlighting the loss of thousands of soldiers and death of civilians during wars. However, we are rarely informed on the survivors of wars and their destiny. What becomes of them? How does war influence the lives of those who have lost their loved ones? How do women mourn the deaths of their husbands, fathers, and brothers and cope with such grave tragedies? These contemplations have urged me to start a project in order to shed light on these events and reflect the grand suffering of war survivors only partly. My photographs have been inspired by the works of Renaissance painters, and this can be seen in the classical lighting techniques and pictorial editing of the works. In addition, the black veils on the models signify the spiritual aspect of the photographs, symbolizing the catharsis born out of a plethora of grief and agony.
Edward Burtynsky
Burtynsky was born in St. Catharines, Ontario. His parents had immigrated to Canada in 1951 from Ukraine and his father found work on the production line at the local General Motors plant. Burtynsky recalls playing by the Welland Canal and watching ships pass through the locks. When he was 11, his father purchased a darkroom, including cameras and instruction manuals, from a widow whose late husband practiced amateur photography. With his father, Burtynsky learned how to make black and white prints and together with his older sister established a small business taking portraits at the local Ukrainian center. In the early 1970s, Burtynsky found work in printing and he started night classes in photography, later enrolling at the Ryerson Polytechnical Institute. From the mid-1970s to early 1980s, Burtynsky formally studied graphic arts and photography. He obtained a diploma in graphic arts from Niagara College in Welland, Ontario, in 1976, and a BAA in Photographic Arts (Media Studies Program) from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982. Burtynsky's most famous photographs are sweeping views of landscapes altered by industry: mine tailings, quarries, scrap piles. The grand, awe-inspiring beauty of his images is often in tension with the compromised environments they depict. He has made several excursions to China to photograph that country's industrial emergence, and construction of one of the world's largest engineering projects, the Three Gorges Dam. His early influences include Ansel Adams, Edward Weston, Eadweard Muybridge, and Carleton Watkins, whose prints he saw at the Metropolitan Museum of Art in the early 1980s. Most of Burtynsky's exhibited photography (pre 2007) was taken with a large format, field camera, on large 4×5-inch sheet film and developed into high-resolution, large-dimension prints of various sizes and editions ranging from 18 × 22 inches to 60 × 80 inches. He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently helicopters and fixed-wing aircraft. Burtynsky describes the act of taking a photograph in terms of "The Contemplated Moment", evoking and in contrast to, "The Decisive Moment" of Henri Cartier-Bresson. He currently uses a high-resolution digital medium format camera. Source: Wikipedia Edward Burtynsky is known as one of Canada's most respected photographers. His remarkable photographic depictions of global industrial landscapes are included in the collections of over sixty major museums around the world, including the National Gallery of Canada, the Museum of Modern Art and the Guggenheim Museum in New York, the Reina Sofia Museum in Madrid, the Tate Modern in London, and the Los Angeles County Museum of Art in California. Burtynsky was born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto's art community. Early exposure to the sites and images of the General Motors plant in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we've imposed onto natural landscapes. Exhibitions include Water (2013) at the New Orleans Museum of Art & Contemporary Art Center, New Orleans, Louisiana (international touring exhibition); Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (five-year international touring show), China (toured 2005 - 2008); Manufactured Landscapes at the National Gallery of Canada (touring from 2003 - 2005); and Breaking Ground produced by the Canadian Museum of Contemporary Photography (touring from 1988 - 1992). Burtynsky's visually compelling works are currently being exhibited in solo and group exhibitions across Canada, the United States, Europe and Asia. As an active lecturer on photographic art, Burtynsky's speaking engagements have been held at the National Gallery of Canada, Ottawa; the Library of Congress in Washington, D.C.; George Eastman House in Rochester, NY; The Canadian Center for Architecture in Montreal; the Art Gallery of Ontario, the TED conference; and Idea City and Ryerson University in Toronto. His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper's Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times. Burtynsky's distinctions include the TED Prize, the Governor General's Awards in Visual and Media Arts, The Outreach award at the Rencontres d'Arles, the Roloff Beny Book award, and the Rogers Best Canadian Film Award. He sits on the board of directors for CONTACT: Toronto's International Photography Festival, and The Ryerson Image Centre. In 2006 he was awarded the title of Officer of the Order of Canada and currently holds seven honorary doctorate degrees. Burtynsky is represented by: Nicholas Metivier Gallery, Toronto; Paul Kuhn Gallery, Calgary; Art 45, Montreal; Howard Greenberg Gallery, and Bryce Wolkowitz Gallery, New York; Sundaram Tagore Gallery, Hong Kong & Singapore; Flowers, London; Galerie Springer, Berlin; Von Lintel Gallery, Los Angeles; and Weinstein Gallery, Minneapolis, Minnesota. Source: www.edwardburtynsky.com
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Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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.
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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