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Tom Atwood
Tom Atwood

Tom Atwood

Country: United States
Birth: 1971

Tom Atwood is an American fine art, portrait, and celebrity photographer, best known for his books Kings in Their Castles (2005) and Kings & Queens in Their Castles (2017). The New Yorker has praised the "refreshing clarity and modesty" of his work. Born and raised in Vermont, Atwood is a graduate of Harvard University, where he studied economics. He later earned an MPhil from Cambridge University. Atwood has lived in Paris, Boston, San Francisco, Los Angeles, and currently resides in New York City.

Atwood worked several years as an advertising executive before turning full-time to commercial and fine art photography. As a photographer, Tom Atwood is largely self-taught, developing many of his techniques through trial and error. According to him, various cultural influences—including theater, painting, architecture, and psychology—have informed his photographic style.

Tom Atwood is particularly known for combining and balancing the genres of portraiture and architectural photography, so that neither the subject nor his or her surroundings predominate in the final image. His recent work has focused on portraits of people at home. He has shot over 100 luminaries including Hilary Swank, Julie Newmar, Buzz Aldrin, Mark Wahlberg (Marky Mark), John Waters, Don Lemon, Tommy Tune, Meredith Baxter, Greg Louganis, Barney Frank, George Takei, Todd Oldham, Edward Albee, Ross Bleckner, Michael Cunningham, Alison Bechdel, Ari Shapiro, Don Bachardy, Charles Busch, Alan Cumming and Leslie Jordan.

His second book, Kings & Queens in Their Castles, was recently published by Damiani. The book won multiple awards including First Place in the International Photography Awards (book category) as well as a Lucie Award (book-other category).

Atwood was included in the National Portrait Gallery’s Outwin Boochever Triennial (Smithsonian Museum). He won first place in Portraiture in the Prix de la Photographie Paris. Atwood also won Photographer of the Year from London's Worldwide Photography Gala Awards, as well as first place in Portraiture.

He has won over 40 additional awards including from the Griffin Museum of Photography, Center for Fine Art Photography, International Photography Awards, Santa Fe Center for Photography, Vienna International Photo Award (Gold Medal), CameraArts, Photo Life, PDN, The Photo Review, Communication Arts, Fence at Photoville, Graphis, Camera Club of NY, Jacob Riis Award, American Photography Annual, One Life International, American Art Awards, Photography Masters Cup, Manhattan Arts International, Hellerau Photography Award, World in Focus, Artrom Gallery Guild, PhotoServe, Reclaim Photo Award, Passepartout Prize, One Eyeland, International Photographer of the Year, International Color Awards, Moscow International Foto Awards, Kodak and American Photographic Artists (sponsored by the Getty Museum and Hammer Museum). He has also been recognized on Photo Life Magazine's list of 50 Emerging Photographers.

Atwood's work has exhibited over 60 times in over 15 countries, including at the National Portrait Gallery (Smithsonian Museum), Griffin Museum of Photography, George Eastman House, National Museum of Finland (Finland), D’Amour Museum of Fine Arts, Kemper Art Museum, Center for Fine Art Photography, Museum of Photographic Arts, House of Lucie, Annenberg Space for Photography, Museum of Modern Art, University of the Arts, Frank Museum, Center for Photography at Woodstock, Benaki Museum (Greece), Museum of Science and Technology (Germany), Shibuya Cultural Center (Japan), Círculo de Bellas Artes Museum (Spain), LA Center for Digital Art, Pacific Design Center, Manhattan Arts International and other institutions.

Selected Books on Available on Amazon
Kings & Queens in Their Castles
Kings & Queens in Their Castles
Tom Atwood
Kings in Their Castles
Kings in Their Castles
Tom Atwood, Charles Kaiser

Gallery

BBA Gallery

Websites

www.tomatwood.com

@tomatwoodphoto

 

Selected Books

Kings & Queens in Their Castles
Kings & Queens in Their Castles
Tom Atwood
Kings in Their Castles
Kings in Their Castles
Tom Atwood, Charles Kaiser

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García De Marina
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Erin Mahoney
Erin Mahoney
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Stephen Rauch
Stephen Rauch
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Stephen Rauch is a photographer whose work explores themes of place, memory, and shared humanity. Early experiences—spending hours with National Geographic magazines and traveling across the U.S. on family road trips—instilled a deep curiosity about the world and its diverse cultures. That curiosity matured during work-related travel, when Stephen Rauch first picked up a camera to document encounters across Europe and Asia. What began as a way to capture personal memories has evolved into a deliberate and thoughtful practice. Today, Stephen Rauch creates photographic series rooted in specific themes or geographies, seeking to evoke the quiet beauty of a moment and the emotional resonance of a place or person. The images aim not only to document but to connect—inviting viewers to reflect, relate, and find meaning through shared visual experiences. Based in Seattle/United States, Stephen Rauch has exhibited work at the Praxis Gallery and is in private corporate collections such as Microsoft Corporation, and continues to explore new projects that blend narrative, travel, and visual storytelling.
Matthew Pillsbury
Matthew Pillsbury
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Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
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Hugo Thomassen
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Shadow of Truth In his search for shadow, Hugo Thomassen found light. It is not the play of light that intrigues, but the richness of shadow. The bottles are what they are, yet they inadvertently evoke associations. Are we looking at a nocturnal cityscape with figures? Are we witnessing a chance encounter, a moment frozen in time, or simply an elegant composition with one or more bottles as the photographic subject? The bottle as a shape. In actual fact, the bottle has been constructed down in minute detail. Although the associations may suggest coincidence, the composition itself makes no such assumption. After all, it was built layer by layer. Painstakingly so. It is rich in its simplicity. No expense is spared. Each line is deliberate, considered. So much is expressed through so little. Without warning, this piece sends you soaring into the void - at least it had that effect on me. The void in which there is no time, and the severity of silence reigns. From a compositional standpoint, you have no reference point for space and time. As such, you go on your instincts and create a story yourself. Or you experience it in a meditative sense. What am I feeling? Is it abandonment, bottomless loneliness? Or am I experiencing silence, light, and intimacy? The image is poetic, still, melancholy, and harmonious. Reassurance emanates from the strict imposition of order. Coincidence is out of the question. The meaning of the work is hidden in the order that it projects. The interplay of lines formed by light and shadows never becomes a labyrinth, instead forming a guide pointing out the right direction. The photo has a reassuring effect on me which does not indicate a lack of thought. It makes me wander off in my mind’s eye while deciding my own perspective. This piece puts me outside of time. I can find no links to a memory, something which photography usually excels at. The image is new, though I believe I see a shade of art history through which the influence of Giorgio de Chirico, Morandi, and Night Shadows by Edward Hopper subtly shine through. The photograph distils the bottle to its purest form. It lays bare its essence. An idea. Is it truth that we see? Reality being exposed? Or are these simply shadows created by shapes? It is this that Thomassen plays with. Is it a single photograph or a picture composed of several images, a multitude of shots? In a sense, the photographic image is attempting to transcend the flatness of the paper. Photography is the means by which Thomassen explores the world. He exposes order in chaos or reveals an event through an ordering. He is the author of a visual story. His work is a narrative without words. It is excitement without something taking place. It represents an ode to emptiness, silence, and form. The bottle as the bearer of meaning. Everything has been translated into a language that one does not necessarily need to understand, but that one feels. He finds beauty in the composition of things, of objects. Naturally, a bottle is just a bottle, but in a composition and in relation to other bottles, by sheer coincidence a story is created. Thomassen brings light and shadow as nuances to that composition. He does not impose hierarchy onto the image. The background, the negative space, is just as important as the bottle. This piece is so streamlined that there are no secondary subjects. Light and shadow are of equal importance, because they need one another. Hugo Thomassen provides a context to the bottles. It is up to the viewer to make a story out of them - or not, of course. Because what is simply a charming image to one may appear to another as a story about existence and appearances. Ludo Diels
Soumya Sankar Bose
Soumya Sankar Bose
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I am a documentary photographer based in India. I did my Post graduate diploma in photography from Pathshala South Asian Media Institute.Born in 1990 Midnapore - Lives and works in KolkataAwards and Fellowships: The Toto-Tasveer Emerging Photographer of the Year. India foundation for the Arts grant for the Project "Let's Sing an Old Song". Magnum Foundation's Photography and Social Justice Fellowship for the Project "Full Moon in a Dark night"Publications: The Telegraph, The Indian Express , Better Photography, Kindle Magazine, Mint Lounge, The Caravan, Wired, A’int-Bad Magazine, Platform, Harmony . As well as online portals such as Scroll.in, The Huffington Post, BBC Online, Gallery Carte Blanche, F-Stop Magazine, Galli Magazine, Fltr , Medium and etc. AAP: Do you have a mentor or role model? Yes, Shahidul Alam who is the principal of Pathshala .And Morten Krogvold was one of my mentor during Chobimela VII .AAP: Do you remember your first shot? What was it?I don't remember my first shot exactly but when I was 7-8 years old, I got a Kodak KB10 from my mother and then I started to capture each and everything around me.AAP: What or who inspires you?My Parents ,Friends, Barnali But mostly my Grand father whose photographs inspire me to become a photographer in my childhood.AAP: How could you describe your style?Once one of my mentor Hasib Zakaria told me that my work is about hyper real. "Hyper reality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins."AAP: What kind of gear do you use? Camera, lens, digital, film?I like to shoot only on 35mm Prime lens in Film and Digital both.AAP: Do you spend a lot of time editing your images? For what purpose?I don't spend lot of time in editing my pictures but what I keep in mind during my editing is that I should not off-tracked.AAP: Favorite(s) photographer(s)?Alec Soth, Stfan bladh, Graciela Iturbide, Diane Arbus, Dayanita Singh and so on.AAP: What advice would you give a young photographer?I am also a young Photographer.AAP: What are your projects?My project documents retired Jatra artists (Jatra is four hundred years old Bengali folk theater which is disappearing day by day) or who have been working in Jatra for more than 25-30 years.AAP: Your favorite photo book?Calcutta Ladies by Dayanita Singh, Fauna and Flora by Dietmar Busse and so on.
Denis Dailleux
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France
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Denis Dailleux, (b. 1958, Angers) lives in Paris when he is not in India, Egypt or Ghana. Represented by Agency VU', Camera Obscura Gallery (Paris), Galerie 127 (Marrakech), Galerie Peter Sellem (Francfort) and the Box Galerie (Brussels), his work has been exhibited and distinguished worldwide. He is the acclaimed author of several books about Egypt: Habibi Cairo, Le Caire mon amour (Filigranes, 1997), Le Caire (Le Chêne, 2001), Impressions d'Egypte (La Martinière, 2011), Egypte, Les Martyrs de la révolution (Le Bec en lair, 2014), Mères et fils (Le Bec en l'air, 2014), Ghana (Le Bec en l'air, 2016) and Persan-Beaumont (Le Bec en l'air, 2018). "Imbued with his distinctive delicacy, Denis Dailleux's photographic work appears calm on the surface, yet is incredibly demanding, run through by an undercurrent of constant self-doubt and propelled by the essential personal bond he develops with those (and that which) he frames with his camera. His passion for people has naturally led him to develop portraiture as his preferred means of representing those whose true self he feels an urge to get closer to. Which he has, with actress Catherine Deneuve as well as with countless anonymous subjects from the slums of Cairo, working with the same discretion, waiting to get from his subjects what he is hoping they will offer him, without ever asking for it, simply hoping that it will happen. That is how he has patiently constructed a unique portrait of his beloved Cairo to create, with black and whites of exemplary classicism and colors of rare subtlety, the definite alternative to the heaps of cultural and touristic clichés which clutter our minds." -- Christian Caujolle These past years, while continuing to photograph Egypt, Denis Dailleux has traveled regularly to Ghana where he explores new relations with regard to body and space, life and death, community, the sea, which opens up new horizons to his photographic research. Regularly exhibited and published in the national and international press, Denis Dailleux is also the winner of prestigious prizes, including the World Press Photo - Category Staged Portraits for his series Mother and Son in 2014, and in 2019 the Roger Pic Prize awarded by Scam for his series In Ghana - We shall meet again. Article Discover Denis Dailleux's Exclusive Interview Galleries Galerie Camera Obscura Galerie 127 Galerie Peter Sellem Box Galerie
Maurice Pellosh
Maurice Pellosh
Congo
1951 | † 2023
Maurice Bidilou was born on August 15, 1951, in Bouansa (formerly Le Briz). At the age of 16, he moved to Pointe-Noire to live with his brother. After taking on a few odd jobs, his uncle encouraged him to learn a trade. This led Maurice to a 19-month apprenticeship at "Studio Jeanot Père," which he began in exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs. During this time, he mastered the art of being a portrait photographer, a craft that would become his lifelong passion. At the time, it was fashionable to have a nickname. Maurice explained that around the age of 11, he played with letters and came up with the word "Pellosh," giving it an American-sounding ending. Long before becoming a photographer, his friends and family were already calling him Pellosh—a name that seemed to foreshadow his destiny. [NB: In French, the word péloche (which sounds the same as Pellosh) means "film."] In December 1973, Maurice Bidilou opened his own photo studio, "Studio Pellosh," near the main market in a bustling neighborhood. The studio remained open until 2016. It quickly became a success. In addition to offering traditional ID photos, "Studio Pellosh" gained a reputation as the go-to place for families, couples, friends, and "sapeurs" eager to immortalize their happiness and symbols of success on film. In the evenings, Pellosh frequented bars, dance halls, and concerts, mingling with the Congolese youth reveling in their newfound independence. Across from Studio Pellosh, the bar-dancing club "Chez Fofo" became his favorite weekend hangout. During the 1970s, the Sape movement—The Society of Ambiance-Makers and Elegant People—was in full swing. The clientele of Pointe-Noire sought carefully crafted souvenir portraits to share with loved ones, often ordering enlargements. These photos became elaborate compositions featuring symbolic accessories of wealth (transistor radios, mopeds, books, cigarettes) and beauty (bags, sunglasses, hats, suits). Artificial lighting allowed for photography at any time of day or night. Starting in 1985, the disappearance of black-and-white development products in Congo forced Pellosh to transition to color photography. A decade later, the rise of digital photography signaled the inevitable end of his studio. Maurice passed away on May 25, 2023, surrounded by decor from his former studio, dozens of Kodak boxes filled with negatives, and photographic equipment. His death, at the age of 71, was caused by severe malaria and a hip fracture. He leaves behind his wife, Jackie, and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—as well as 17 grandchildren, all of whom are proud and dedicated to preserving Maurice’s legacy. Since 2020, this work has been championed by Emmanuèle Béthery, who has brought new recognition to Maurice's artistry.
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Call for Entries
AAP Magazine #55 Women
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© Ilaria Miani
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