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Yulia Nevskaya
Yulia Nevskaya
Yulia Nevskaya

Yulia Nevskaya

Country: Russian Federation
Birth: 1986

Yulia Nevskaya is a documentary photographer and photojournalist from Moscow. For her, photography is a way to tell people's stories and talk about the problems they face throughout Russia.

Yulia works on her own projects and materials ordered by the editorials. In recent years, the key topics for her have been the problem of preserving cultural heritage, ecology, as well as pressing social issues. In her projects, she explores the connection between person and place, the formation and preservation of cultural codes, as well as the principles of organization and functioning of communities of people tied to the territory. Yulia is a member of the international association "Women Photograph". Collaborates with leading Russian and foreign editorials, including National Geographic (Rus), Reporterre (Fr), Liberation (Fr) and others. Since 2020, she has been working in parallel as a producer, screenwriter and director of projects in the format of video journalism, and also teaches her own course "Algorithms for creating documentary photo stories".

"I am sure that documentary is a profession that can only be chosen for love. You just feel the inner urge to hit the road and tell stories. And you do it because you cannot but do it".

Websites

yulianevskaya.com

@jul.nevskaya

 

Inspiring Portfolios

Jesús Umbría Brito
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Nanda Hagenaars
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More Great Photographers To Discover

Daisuke Kishi
Daisuke Kishi
Japan
1976
Daisuke was born in Fukushima, and raised in New York, Luxembourg, Brussels and Tokyo. This nomadic life, spending most of his childhood abroad, inevitably aroused his curiosity on other countries as well as longing for his home country, Japan. Discovering how diverse our world is and finding out that his homeland is one of a kind remains the source of his inquisitive mind to see the world, which now leads to his travel and street photography. Daisuke started his career as a photographer on the cruise ship, and spent six years exploring the coastline of the globe as an onboard photographer of Nippon Maru and Princess Cruises. During his career on the ships, he has visited more than 150 ports in 56 countries around the world. He is a full member of Japan Travel Photographer Association since 2018.
Lynn Karlin
Lynn Karlin
United States
Lynn Karlin's move to Maine after 13 years as a successful commercial photographer in New York City brought her back to her love of fine-art photography. Growing up in Queens, New York, Lynn graduated from Pratt Institute in Brooklyn. Her career took off when she was chosen as the first woman staff photographer for Women's Wear Daily and W, where, day and night, she photographed the rich and famous. Back then, her portraits featured everyone from trendy fashion designers to celebrities. She went on to freelance for the New York Times Magazine, House Beautiful, New York Magazine, Country Living, and other major publications. When Lynn left NYC in 1983 for a new life on a farm in Maine, she helped run a market garden while co-authoring, with Stanley Joseph, the now-classic Maine Farm: A Year of Country Life (Random House, 1991). She also took on assignments for garden magazines, winning awards world-wide. Her life after the farm led her down yet another road photographing the best-selling Gardens Maine Style (Down East Books, 2001), with writer Rebecca Sawyer-Fay. Then, in 2008, after seeing an amazingly beautiful cauliflower at a local farmers' market, Lynn began photographing and styling a series of still-lifes called The Pedestal Series which celebrate vegetables by elevating them to a place of honor-on a pedestal. Thirteen years later she moved from produce back to people after spotting a remarkable young man named Paul, whose ruffled hair and strong features led her in an entirely new direction: Stories in Profile, a series of portraits that have won international competitions and currently show in galleries and private collections from New York to Paris. Stories in Profile Lynn chooses her Stories in Profile subjects for their distinctive features. In these portraits, she celebrates the contours of the face, the qualities of hair, and other prominent traits that render each subject simultaneously elegant and mysterious. Lynn uses natural directional lighting in her studio to highlight topography, creating texture and dynamics and giving her work the painterly feel of 17thcentury master painters. This soft, directional light has an unpredictability that is energizing and keeps her alert and focused. While shooting, Lynn concentrates on design, form, light, and negative space as she reaches for a story to emerge through the profile of her human subjects. As a photographer, the more limited constraints of a profile are challenging. One senses a person's courage and vulnerabilities. She seeks to capture a personality distilled to its strongest form. Rarely do we look at others, or ourselves, from this side view. Each profile is a discovery as she sets out to record the moment when her subject's inner self emerges, direct and stunning.
Max van der Wal
Max van der Wal
Netherlands
Max van der Wal has been educated as a sound artist at the Royal Conservatory in The Hague, Netherlands and afterwards has broadened his spectrum of work by researching computer graphics and analogue film processes. During his research he has dived deeply into systematic thinking, subjective experience and process. There has always been an underlying need to expose systems by following them extensively or mistreating them. He has taken various notions from the sonic world into the visual domain in computer graphics as well as analogue photography. Inspired by texts and works of John Cage, van der Wal utilises a variety of processes which lie beyond his control, hereby challenging the notion of perfection in art and life itself. Rather than focusing on preconceived ideals of what a work should look or sound like, he switches the intention towards the unknown and the experimental. The artistic expression is found in the moments in which he intervenes into the processes, imposing a human perspective onto a mindless system. The objects displayed in the frame are no longer the focus of the work, but rather the processes and their unexpected outcome.
Joseph Szabo
Joseph Szabo
United States
1944
What strikes us first in the photographs of Joseph Szabo is a quiet shock of recognition. His poignant images of the life of American teens present a nostalgic portrait of those tumultuous years between childhood and adulthood. We remember our own high school years - first loves, classic rock, hanging out. We see ourselves in his photographs. Born in Toledo, Ohio, Joseph Szabo discovered his passion for photography as a student at New York's Pratt Institute. By the early 1970s, he was teaching art and photography at Malverne High School in a working-class neighborhood on Long Island. As he struggled to connect with his students, Szabo began using his camera to bridge the gap between teacher and student. In the classroom or on school grounds, and with the neutral eye of a documentary photographer, Szabo depicted his subjects as they were - preening and posing, showing off and goofing around, kissing, smoking - without judgment. What emerges is a dignified, compassionate, and tender view of teenage life rarely seen by adults. Although Szabo's portrait of adolescence in America is specific to suburban Long Island in the 1970s and 1980s, the images are universal and timeless. They capture the bravado and vulnerability, the joy and exuberance, the angst and fear, and the blossoming self-confidence and emerging sexuality of those complex years at the cusp of adulthood. Describes as a "chronicler of teenage life," Szabo's work actually comprises several distinct series - adolescents, Rolling Stones fans, Jones Beach and hometowns - that share a common aesthetic. Wether his camera is focused on his students, the "melting pot of humanity" at Jones Beach, fans at a rock 'n' roll concert, or the suburban streets of the East Coast and Ohio, Szabo's interest is in capturing quintessential American experiences, familiar to all of us, no matter where we grew up. He taught at the International Centre of Photography (ICP). Szabo is the recipient of a National Endowment for the Arts Fellowship and his work resides in the permanent collections of the Metropolitan Museum of Art, International Center of Photography and the Bibliothèque Nationale de France in Paris. Szabo is most notable for his photographs of American youth taken during the 1970s and collected in the books Almost Grown and Teenage. His photograph Priscilla was featured as the cover of alternative rock band Dinosaur Jr's 1991 album Green Mind. Szabo made a body of work on Rolling Stones Fans photographed at a concert in Philadelphia in 1978. Joseph Szabo currently lives in Amityville, New York with his wife Nancy.Source: Wikipedia Joseph Szabo is a teacher, photographer and author. He taught photography and art at Malverne High School on Long Island for 27 years and for over 20 years at the International Center of Photography in Manhattan. His 1978 book, Almost Grown, featured many of his students and was acclaimed as one of the “Best Books of the Year” by the American Library Association. In the book’s forward, legendary photojournalist and Founder of the International Center of Photography Cornell Capa, wrote that “…in Szabo’s hands, the camera is magically there, the light is always available, the moment is perceived, seen, and caught.” Throughout the 80s and 90s, Almost Grown attained cult classic status in the fashion world, prompting Vogue editor Grace Coddington to notice that “all the young fashion photographers were looking at Joe’s photographs as their bible.” In 2003, Szabo released Teenage his more complete view of adolescents coming of age. His most recent book Jones Beach captures his forty year exploration of summer at New York’s most popular beach. Szabo’s evocative black and white images have won him worldwide recognition and admiration, from photographers including Bruce Weber and filmmakers Cameron Crowe and Sofia Coppola. He is the recipient of a photography fellowship from the National Endowment for the Arts and his images reside in the collections of the Bibliothèque Nationale de France in Paris, the George Eastman House museum in Rochester, the Museum of Modern Art in New York, and the San Francisco Museum of Modern Art, among many others. His photographs have been published in The New York Times, the Los Angeles Times, The Times, French Vogue, Women’s Wear Daily and exhibited at galleries in Paris, London, Japan, New York, Atlanta and Los Angeles.Source: josephszabophotos.com Galleries Jackson Fine Art Michael Hoppen Gallery Gitterman Gallery M+B Gallery
Laura Heyman
Laura Heyman
United States
Laura Heyman was born in Essex County, New Jersey. She received a B.F.A in photography from University of the Arts in Philadelphia, PA, and an M.F.A. from Cranbrook Academy of Art in Bloomfield Hills, MI. Heyman’s work has been exhibited at Luggage Store Gallery, San Francisco, CA, Deutsches Polen Institute, Darmstadt, DE, Ampersand International Arts, San Francisco, CA, Senko Studio, Viborg, DK, Silver Eye Gallery, Pittsburgh, PA, The Palitz Gallery, New York, NY, Light Work Gallery, Syracuse, NY, The Ghetto Biennale, Port-au-Prince, Haiti, Philadelphia Photographic Arts Center, Philadelphia, PA, The Laguna Art Museum, Laguna, CA, The United Nations, New York, NY and The National Portrait Gallery, London, UK.In 2010, she was nominated for a John Guttman Photography Fellowship, and was awarded a Light Work Mid-Career Artist Grant. She has received the Silver Eye Fellowship, a Ragdale Fellowship and multiple NYFA Strategic Opportunity Stipends. Heyman has curated exhibitions and panel discussions at Vox Pouli, Philadelphia, PA, Wonderland Art Space, Copenhagen DK and the Clocktower Gallery, New York, NY, and her work has been reviewed and profiled in The New Yorker, Contact Sheet, Frontiers, and ARTnews.Pa Bouje Ankò: Don’t Move Again uses the studio portrait to explore embedded hierarchies between photographers, subjects and viewers. The work is driven in part by longstanding questions around photographic representation, specifically those involving the voyeurism and objectification of so-called “third world” subjects by “first world” artists. Seeking to examine these questions in depth, I established an outdoor portrait studio in the Grand Rue neighborhood of Port-au-Prince, Haiti in late November 2009. Advertisements circulated news about a photography studio in the area, where members of the local community could schedule appointments to have their portraits made for free. Working in black and white with an 8x10 camera, I photographed one hundred and twenty people over a period of two weeks.Three weeks later, the meaning of those images shifted with the earthquake. They became both records and memorials. That event also changed the focus of the project, which evolved to include various expanding populations in Port-au-Prince tied to future development and reconstruction.Issues of representation, visual sovereignty and cultural protocol, central to the project from the beginning, became more complicated after the earthquake. When I first arrived in Port-au-Prince, I imagined that positioning myself as a “studio photographer” would allow me to escape or subvert the complex tangle of hierarchies at play in Haiti, as well as in the exchange between photographer and subject. Neither has been the case. Instead, layers of meaning and intention continue to reveal themselves, expanding the project's framework and engaging the myriad contradictions and impossibilities present in the work’s original question.All about Laura Heyman:AAP: When did you realize you wanted to be a photographer?I began making photographs in high school, and knew I wanted to be a photographer before going to college.AAP: Where did you study photography?At University of the Arts in Philadelphia, I studied with Jack Carnell and Alida Fish. At Cranbrook Academy of Art, where I got my MFA, I studied with Carl Toth, and also Grant Kester, who taught Critical Theory at the school during my first year there.AAP:Do you have a mentor or role model?I don’t know that I’d say I have a mentor – there are peers I look to regularly for advice and feedback on my work.AAP: Do you remember your first shot? What was it?One of my first shots was the stream in my grandparent’s backyard in Phonecia, New York. My grandfather fished there, and my older sister and I used to run around and catch salamanders and frogs.AAP: What or who inspires you?Artists like Collier Schorr, An-My Lê, Roni Horn, Robert Adams, Mark Ruwedel, Pieter Hugo; David Shrigley, Jennifer Dalton Ai Wei Wei; Richard Mosse and Liz Cohen. I’m inspired by artists whose work makes me think, those using humor in their practice, and artists who really put themselves on the line. Books and essays, movies and performance – I’m inspired by a lot of different people and things.AAP: How could you describe your style?The visual style of my work changes according to the subject – a constant is subjects or projects that can and do express a layered viewpoint, or pose a series of questions.AAP: What kind of gear do you use? Camera, lens, digital, film?While I sometimes shoot digital, mostly I work analogue, with a medium or large format camera. Lately that has meant using Ilford HP5 black and white film with a Deardorff 8X10 camera and a 300 mm lens.AAP: Do you spend a lot of time editing your images?For me, editing (by which I mean deciding what images are included in a series, not post-production) is at least fifty percent of the job. I spend as much, if not more time editing a series as I do producing it.AAP: Favorite(s) photographer(s)?Collier Schorr, Robert Adams, Rineke Djikstra, Zoe Strauss, Luc DelahayeAAP: What advice would you give a young photographer?Know what you want. Shoot twice as much as you think you should. Be prepared to shoot and re-shoot until you get what you want.AAP: Your best memory as a photographer?A number of photographs I made of some friends while we waited in a car for the ferry. It was cold out, and we were all inside, smoking. The images captured the moment and the subjects very precisely – although this was over twenty years ago, they still have an immediacy that thrills me.AAP: Your worst souvenir as a photographer?A little while ago I was shooting some portraits on a very sunny day, and forgot to flag the lens. The negatives l ended up with were completely fogged and unusable.AAP: If you could have taken the photographs of someone else who would it be?Either Robert Adams What We Bought, or Collier Schorr’s Jens F. Both books have a real hold on me – I’m completely consumed every time I open one up. And after years of looking at them, they still surprise and fascinate me.
Lisa Thomas
Lisa Thomas
United States
1974
Lisa Thomas is a self-taught Atlanta-based photographer with a passion for creating unique, abstract images. Born in Virginia in 1974, she holds a degree in physical therapy from the University of Oklahoma and has spent over 20 years in the healthcare industry. She began studying photography in 2020 as a creative outlet to cope with stress and to connect with others during a time of social isolation. Initially drawn to representational imagery, her journey as an artist has been an evolution, leading her to embrace the enchanting realm of abstract photography. Thomas’s current work, Studies in Oil and Water, is a macro view of the interplay between oil and water set against a variety of backdrops. Thomas’s distinctive style combines vibrant colors, playful compositions, and the use of light to create images that are emotionally uplifting and encourage viewers to embark on a visual journey. Studies in Oil and Water My photographic work is an exploration of two seemingly incompatible elements, oil and water. Through my lens, I capture their intricate interactions giving rise to mesmerizing abstract compositions allowing viewers to immerse themselves in a realm of color and fluidity. In this chaos, I find harmony in the hues and patterns that emerge and an appreciation for the beauty in the everyday. From bold and intense to tranquil and serene, my photographs mirror the kaleidoscope of emotions that define our lives. My aim is not only to captivate the eye but also to inspire curiosity and contemplation in the viewer.
Stephan Vanfleteren
Stephan Vanfleteren
Belgium
1969
Stephan Vanfleteren studied photography at Lucas Institute in Brussels (1988-1992). From 1993 to 2009, he worked as a free-lance photographer for the Belgian Journal De Morgen and always worked and invested in his own personal projects. Actually, Stephan works for museums, he's publishing his portraits in foreign journals and several foreign magazines. He's cofounder of Hannibal Publishing and Cannibal Publishing. Stephan Vanfleteren is art-director for the two publishing houses. PRICES 1996 - World Press Photo Award - Sports, third prize stories - Boxing in Cuba 1997 - World Press Photo Award - Daily Life, first prize stories - Aids, Kenia 1998 - European Fuji Awards 2000 - World Press Photo Award - Arts and Entertainment, third prize stories, Elvis & Presley 2001 - World Press Photo Award - Children's Award, prize singles - Afghanistan 2001 - European Fuji Award 2007 - Nikon Press Photo Award 2009 - Louis Paul Boon award - Belgium 2010 - Lead Awards: 'Portätfotografie des Jahres', Germany 2011 - Henri Nannen Price, Germany - Tomi Ungerer 2012 - Vijfjaarlijkse Cultuurprijs voor de Provincie West-Vlaanderen 2012 - National Portrait price of the Netherlands - Rem Koolhaas, Dutch architect 2013 - World Press Photo Award - Staged Portraits, first prize stories, People of Mercy 2019 - Henri Nannen Price, Germany - Angels of the Sea - Mare Publication. BOOKS 1999 - Elvis&Presley, with photographer Robert Huber (Switserland) 2000 - Buren, with Mark Power & Eva Leitolf 2003 - Tales from a Globalizing World 2005 - Flandrien - Cannibal Publishing 2007 - Belgicum - Hannibal Publishing 2009 - Portret 1989-2009 - Lannoo 2012 - En avant, marche! - Hannibal Publishing 2013 - Façades & Vitrines (Limited edition 666 exp) - Hannibal Publishing 2014 - MMXIV - De Red Devils - Cannibal Publishing 2014 - Atlantic Wall - Hannibal Publishing 2015 - Charleroi, il est clair que le gris est noir - Hannibal Publishing 2018 - SURF TRIBE - Hannibal Publishing 2019 - PRESENT - Hannibal Publishing 2019 - ONUITGESPROKEN - Hannibal Publishing About PRESENT Stephan Vanfleteren is mainly known to the general public for his penetrating black & white portrait photography, but over the past decades his work has ranged to documentary, artistic and personal pictures. From street photography in world cities like New York to the genocide of Ruanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits. The iconic images sit side by side with unknown treasures in this heavy tome containing no less than 505 photographs. In the very personal accompanying text, Vanfleteren reflects on how his own work and the photography genre as a whole have evolved in recent decades. You get a close-up look at his intriguing career from the very beginning, when he travelled the world with an appetite for action. He also photographed his home country: all of the headline news stories of the 1990s appeared before his lens. Around the Millennium, Vanfleteren started to focus on that which is disappearing. With painstaking attention to nuance he created a visual archive of his homeland and of his fellow Belgians, in his own inimitable style. In the last few years Vanfleteren has brought the world inside, to his daylight studio, resulting in many encounters and portraits. This book includes two new series – not previously published – which were born in the intimacy of his studio: an exploration of the still life and a study of nude photography, both in colour. Present is an impressive overview of Vanfleteren's oeuvre that provides a complete picture of him as a photographer, an artist, and above all a human being who faces life with empathy, wonder, and curiosity. More about PRESENT
Shinji Ichikawa
Shinji Ichikawa
Japan
Born into a family that ran a photo studio, I grew up surrounded by cameras and photographs. After graduating from Tokyo Visual Arts in 1993, I entered the world of commercial photography as an assistant. In 1999, my artistic journey took me to New York, where I began a self-taught exploration into photographic expression, drawing inspiration from Surrealism and other artistic movements. My work often delves into the themes of space and presence that envelop the subject. In 2002, I returned to Shimane Prefecture and continued to produce and exhibit my photographic works while managing my family's studio. Winner AAP Magazine 39 Shadows Exclusive Interview with Shinji Ichikawa
Helen Levitt
Helen Levitt
United States
1913 | † 2009
Helen Levitt was an American photographer and cinematographer. She was particularly noted for her street photography around New York City. David Levi Strauss described her as "the most celebrated and least known photographer of her time." Helen Levitt was most well known and celebrated for her work taking pictures of children playing in the streets. She also focused her work in areas of Harlem and the Lower East side with the subjects of her work many of which were minorities. There is a constant motif of children playing games in her work. She stepped away from the normal practice set by other established photographers at the time by giving a journalistic depiction of suffering. She instead chose to show the world from the perspective of her children by taking pictures of their chalk art. She usually positions the camera and styles the photo in a way that gives the focus of her photography power. Her choice to display children playing in the street and explore street photography fights against what was going on at the time. Legislation being passed in New York at the time was limiting many of the working classes' access to these public spaces. Laws were passed that directly targeted these communities in an attempt to control them. New bans on noise targeted working-class and minority communities. There was a movement to also try to keep children from playing on the street believing it is unsafe for them out there. Instead encouraging safe new areas that were usually built more in upper and middle-class areas. Helen Levitt instead exploring the narrative of those who lived in these areas and played in these streets was a way further to empower the subjects of her photos. Levitt was born in Bensonhurst, Brooklyn, New York, the daughter of May (Kane), and Sam Levitt. Her father and maternal grandparents were Russian Jewish immigrants. She went to New Utrecht High School but dropped out in 1931. She began taking photography when she was eighteen and in 1931 she learned how to develop photos in the darkroom when she began working for J. Florian Mitchell, a commercial portrait photographer in the Bronx. She also attended many classes and events hosted by Manhattan Film and Photography League. This was also around the time she was exposed to the work of Henri Cartier-Bresson at the Julien Levy Gallery, who she was also able to meet through the league. His work became a major influence for her photography as it inspired her to change from her current more journalistic and commercial approach to photography to a more personal one. In 1936, she purchased a Leica camera (a 35 mm range-finder camera). In While teaching art classes to children in 1937 for the New York City's Federal Art Project, Levitt became intrigued with the transitory chalk drawings that were part of the New York children's street culture of the time. She began to photograph these chalk drawings, as well as the children who made them for her own creative assignment with the Federal Art Project. were ultimately published in 1987 as In The Street: chalk drawings and messages, New York City 1938–1948. She continued taking more street photographs mainly in East Harlem but also in the Garment District and on the Lower East Side, all in Manhattan. During the 1930s to 1940s, the lack of air conditioning meant people were outside more, which invested her in street photography. Her work was first published in Fortune magazine's July 1939 issue. The new photography section of the Museum of Modern Art, New York included Levitt's work in its inaugural exhibition in July 1939. In 1941, she visted Mexico City with author James Agee and took photos of the area. In 1943, Nancy Newhall curated her first solo exhibition Helen Levitt: Photographs of Children. In 1959 and 1960, she received two grants from the Guggenheim Foundation for her pioneering work in color photography. In 1965 she published her first major collection, A Way of Seeing. Much of her work in color from 1959 to 1960 was stolen in a 1970 burglary of her East 12th Street apartment. The remaining photos, and others taken in the following years, can be seen in the 2005 book Slide Show: The Color Photographs of Helen Levitt. A second solo exhibit, Projects: Helen Levitt in Color, was held at the Museum of Modern Art, New York in 1974. Her next major shows were in the 1960s; Amanda Hopkinson suggests that this second wave of recognition was related to the feminist rediscovery of women's creative achievements. In 1976, she was a Photography Fellow of the National Endowment for the Arts. Levitt lived in New York City and remained active as a photographer for nearly 70 years. However, she expressed lament at the change of New York City scenery: "I go where there's a lot of activity. Children used to be outside. Now the streets are empty. People are indoors looking at television or something." She had to give up making her own prints in the 1990s due to sciatica, which also made standing and carrying her Leica difficult, causing her to switch to a small, automatic Contax. She was born with Ménière's syndrome, an inner-ear disorder that caused her to "[feel] wobbly all [her] life." She also had a near-fatal case of pneumonia in the 1950s. Levitt lived a personal and quiet life. She seldom gave interviews and was generally very introverted. She never married, living alone with her yellow tabby Blinky. Levitt died in her sleep on March 29, 2009, at the age of 95.Source: Wikipedia
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Exclusive Interview with Jan Janssen
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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.
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Exclusive Interview with Henk Kosche
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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.
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Exclusive Interview with Anastasia Samoylova
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Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
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Interview with Maureen Ruddy Burkhart
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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.
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