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Pat Rose
Pat Rose
Pat Rose

Pat Rose

Country: United States

Pat Rose is a photographer based in Portland, Oregon. Her work includes landscape, street, portrait and botanical photography. She is a retired teacher of English as a Second Language who has taught in Saudi Arabia and Turkey, as well as in Austin, Texas, and most recently at Portland State University. After picking up her first digital camera a few years before her retirement about a decade ago, she quickly developed many photographic interests. Landscape and street photography appeal to her love of wandering and exploring new places, while her interest in portraiture stems from a desire to work collaboratively with her subjects. In late February 2020, as the coronavirus pandemic was gaining traction in the world and just starting to spread in the US, she began exploring the genre of scanner photography, an alternative form of photography involving the use of a flatbed scanner rather than a conventional camera to make digital images. This kind of work seemed an excellent way to continue her creative efforts as she started practicing self-isolation at home during the growing pandemic. For her scanned images she has been using flowers and other botanical specimens to create "virtual" bouquets as a celebration of the beauty and grace still to be found in the world during these troubled times.

Pat has shown her work in a number of group exhibitions in galleries across the country. In Oregon, her photography has been juried into exhibitions at the LightBox Gallery in Astoria and the Black Box Gallery in Portland, and her Landscapes of the Pacific Northwest series was juried into the 2018 Pacific Northwest Photography Viewing Drawers at the Blue Sky Gallery in Portland. Her work has also been juried into exhibitions in the A Smith Gallery in Johnson City, Texas, the SE Center for Photography in Greenville, South Carolina, and PhotoPlace Gallery in Middlebury, Vermont, among others. In addition, one of her landscapes graces the cover of the 2016 edition of The Creaky Knees Guide, Oregon published by Sasquatch Books in Seattle. Another of her landscape photographs appears in the 2017 German edition of the National Geographic Guide to National Parks of the United States, a travel guide published by NG Buchverlag GmbH in Munich.

Pat has received several awards for her photography. Her landscape image titled Enchanted Forest was selected for the Juror's First Award at the 2017 Nature's Way exhibition at the LightBox Gallery in Oregon, and the image won the Grand Prize in The American Landscape 2021 Photo Contest presented by Outdoor Photographer Magazine. Her portrait titled Sophia With Roses won a Director's Honorable Mention in the 2020 Portraits exhibition at the A Smith Gallery in Texas, and the image won Second Place in The Face, 2020 Portrait Photo Contest presented by Digital Photo Pro Magazine. Her cityscape image titled Random Chaos won a Director's Honorable Mention in the 2020 Vistas exhibition at the A Smith Gallery in Texas. And her botanical image titled Still Life with Roses & Raffia won an Honorable Mention in the Still Life Amateur category in The 14th Annual International Color Awards.

Pat also writes about photography for Oregon ArtsWatch, an online magazine about culture and the arts in the Pacific Northwest. Much of her photography and her CV can be found on her website.

Websites

www.patrosephotography.com

@patrose85

 

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More Great Photographers To Discover

tr Smith
tr Smith
United States
1953
Born in Thailand, raised in Panama and Canada, I have never known quite where I am or how I fit in. Having trained successfully as a theatre actor and director, then finding a new career as a software developer, I am still looking to answer that question. Now approaching 70 the question feels urgent and I am increasingly engaged with using the camera to see the world around me and understand myself within it. Statement I am a Brooklyn based photographer. My work is primarily concerned with the diversity, depth, and energy of my adopted city and its people. I use photography to sharpen my awareness and appreciation of my surroundings at home, at work in Manhattan, and travelling between the two, with the occasional foray to more distant places.
João Coelho
João Coelho
Angola/Portugal
1964
I was born in Angola, but the upheavals that preceded and followed the country's independence process forced my family to emigrate to Portugal, where I lived until about 15 years ago. My passion for photography was born in his teenage years, with a focus on landscapes and portraits. When I returned to Angola to work on social development projects, I had to live with people and scenes in very precarious conditions on a daily basis, which radically changed the way I was and how he saw the world. Gradually, I developed a strong desire to visually tell the stories of these people's survival, to give them a voice they had lost in society, and to try to arouse emotions and an awareness that something must be done to change the world for the better. Documentary photography came naturally to me as a tool to study the human condition, especially the enormous resilience of people in the face of the fragility of their lives and the greatest adversities they can face. My photography always aims to denounce the injustices that asymmetries and inequalities cause in societies. Currently, my work focuses more on projects, as they allow him to build more structured and solid narratives that can have a more transformative power in society. Artist Statement: I have always been fascinated by the human condition and its study has been a major driving force in my work. More than an aesthetic purpose, I want my photography to evoke feelings, emotions, and convey messages by telling stories that depict suffering or joy, despair or mutual aid, strength or disappointment, or simply resilience in the face of adversity and uncertainty about the future. AAP Competitions: All About Photo Awards 2025
Markku Lahdesmaki
Markku Lahdesmaki
United States/Finland
I was born in Finland and began taking photographs at the age of eight, after receiving a black-and-white film camera from my uncle. In my teenage years, I played guitar in a band, and ever since, music and photography have shared equal importance in my life. Over time, photography took the lead, as I realized that music didn’t just accompany my work, it inspired it. My aim is to create images that tell a story and entertain, often with a touch of peculiar humor. Most of my ideas are rooted in values I want to share: the joy of life, peace of mind, a sense of humor, and appreciation for our existence - the simple, essential things we too often take for granted.
Argus Paul Estabrook
Argus Paul Estabrook
South Korea/United States
1977
I'm a biracial Korean-American photographer who works in both South Korea and the USA. Frequent travel between these two countries has provided me a unique perspective of Korean identity and its relationship to both global and regional communities. As an artist, I'm interested in creating work that gives voice to others and I often volunteer my efforts to marginalized communities. My work has been awarded by the Magnum Photography Awards, Sony World Photography Awards, LensCulture, IPA, MIFA, TIFA, as well as exhibited at the Aperture Summer Open: On Freedom. I've also been twice selected as a Critical Mass Top 50 artist by Photolucida and a three-time recipient of PDN's Annual Exposure Award. Additionally, I am an alumnus of the prestigious Eddie Adams Workshop and was named the 2017 Dorothy Liskey Wampler Eminent Professor in the School of Art, Design and Art History at James Madison University. Losing Face "Losing Face," documents the energy and emotions surrounding the impeachment protests of South Korean President Park Geun-hye. In October 2016, her relationship with a shadowy advisor from a shaman-esque cult was revealed to extend to acts of extortion. Protests were then held every weekend until Park was formally removed from office in early March 2017. This is what it looks like when the South Korean President loses face. This Is Not an Exit "This Is Not an Exit," bears witness to my father's unexpected struggle with Stage 4 pancreatic cancer as well as documents my mother's grief after his passing. Tying my photography to my mother's narration of events, we weave an intimate family record- one of vision and voice. Bound together through a personal process of grief, I hope "This Is Not an Exit" creates an emotional map, one that reveals our connectedness to each other while also furthering an understanding for all those navigating the loss of a loved one. More about Losing Face
Joël Tettamanti
Joël Tettamanti
Switzerland
1977
Joël Tettamanti was born in 1977 in Efok, Cameroon, and grew up in Lesotho and Switzerland. He studied photography at ECAL, Lausanne, where his teachers were Pierre Fantys and Nicolas Faure. Following his studies, he worked as an assistant to the photographer Guido Mocafico in Paris. Tettamanti is established as a commercial and media photographer for clients such as Wallpaper*, Kvadrat, and international architects. His work has been featured in solo and group exhibitions in Europe, and has been the subject of several monographs, including Local Studies (2007) and Davos (2009). He lives in Lausanne. The Swiss photographer Tettamanti creates works that focus on the impact of human settlement on the landscape, from Asia to the Arctic Circle. The images are often without people, examining instead the contradiction of human frailty and resilience, and the relationships people form with the land. His work is a vast archive of the structures, villages, and cities people create, and of the landforms and climates that shape them. Like many photographers who have been drawn to archive the world, Tettamanti’s interest lies beyond collecting artifacts of the human imprint on the land. The questions he asks of a place – why things look the way they do, and how they came about – lead to profoundly social narratives about the people who are uplifted and sometimes defeated by the land they inhabit. Tettamanti gravitates toward inhospitable environments where these relationships play out in spectacle: the juxtaposition of sublime natural beauty and buildings of startling banality, or ingenuity, or of land seemingly without limit and the meager architecture put upon it. The story can be one of use and misuse, where urban sprawl or industrial incursions have degraded the land and corrupted its beauty, as well as one of human adaptability and resourcefulness. The land is shaped by people as much as it shapes them. His quest as an artist recalls the expeditionary photography of the American West in the nineteenth century, when territories previously unexplored by Americans were opened to visual imagination by the camera. Today, when technology and globalization make distant cultures accessible, there is still a sense of revelation in Tettamanti’s work. For this artist, much like the nineteenth-century pioneers of the medium, photography remains a means of understanding the world, and retains the power to astonish with images of places that exist beyond the imagination. Source: MIT Museum
Michael Nguyen
Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Mark Seliger
Mark Seliger
Unites States
1959
Mark Alan Seliger (born May 23, 1959) is an American photographer noted for his portraiture. Seliger was born in Amarillo, Texas, the son of Maurice and Carol Lee. The family moved to Houston in 1964. He attended the High School for the Performing and Visual Arts in Houston, and East Texas State University (now Texas A&M University Commerce). He moved to New York City in 1984. Seliger began working for Rolling Stone in 1987, and served as its chief photographer from 1992 to 2002, and shot more than 100 covers for the magazine. As of 2010, Seliger lives in New York City and works for Conde Nast Publications. He has shot a number of covers for GQ and Vanity Fair. Seliger has also published several books; created a number of CD covers for Burning Spear, Diana Krall, and other bands; and directed short films. The celebrities whose portraits Seliger has made include Susan Sarandon, David Byrne, Matthew Barney, Willie Nelson, Mick Jagger, Keith Richards, Kurt Cobain, Lenny Kravitz, Rob Thomas, Brand Nubian, and Tony Bennett.Source: Wikipedia Seliger now shoots frequently for Vanity Fair, Italian Vogue, Harper’s Bazaar, Elle, and many other magazines. In addition, he shoots advertising work for Adidas, Anheuser-Busch, Levi’s, McDonald’s, Netflix, Ralph Lauren, Ray-Ban, and many more. Seliger is the recipient of such esteemed awards as the Alfred Eisenstaedt Award, Lucie Award, Clio Grand Prix, Cannes Lions Grand Prix, The One Show, ASME, SPG, and the Texas Medal of Arts Award. Seliger’s work has been exhibited in museums and galleries around the world. His photographs are part of the permanent collection of the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., the Museum of Fine Arts in Houston, and the National Portrait Gallery in London.Source: www.markseliger.com
Marcin Ryczek
Marcin Ryczek
Poland
1982
Marcin Ryczek was born 1982 in Lublin (Poland). He lives and works in Cracow. His photography refers mainly to symbols and geometry. "Minimum form, maximum content" is the essential principle that characterizes his photos. His photographs have been presented at exhibitions in USA, Denmark, Holland, Italy, Austria, South Korea, England, Romania, France, Poland, Germany, Japan, China, India … His photos have been published in the press and other media around the world, among others: The Guardian, Der Spiegel, Yedioth Ahronoth, La Repubblica, Politiken, Athens Voice, The Daily Telegraph, National Geographic... Awards: - Grand Prix de Découverte 2013 - Grand Press Photo 2013 - LensCulture Exposure Awards 2014 - IPA – The International Photography Awards 2014 - Chelsea International Fine Art Competition 2014 - ND Awards 2014 - The Miami Street Photography Festival 2015 - New York Photo Festival 2015 - StreetFoto San Francisco Festival 2016 - XV edizione del Premio Internazionale “Giuseppe Sciacca” 2016 - Siena International Photography Awards 2016 - Finalist All About Photo Awards 2017 One of the most influential American website The Huffington Post has recognized his photo as one of the 5 best photos in the world in 2013. This photo "A man feeding swans in the snow" was admitted to the prestigious collection of the Bibliotheque Nationale de France and the Silesian Museum in Poland.
Jonathan Banks
Jonathan Banks
United Kingdom
1971
Jonathan Banks is an award-winning photographer with over 20 years' experience in commercial and media photography. Jonathan Banks studied under the prolific artist John Blakemore, and graduated from the University of Derby with a BA honours in Photographic Studies. He cut his teeth in editorial photography freelancing for The Daily Telegraph and various agencies. His work has appeared in international magazines and books. Jonathan has exhibited several bodies of work as a solo artist, as well as in conjunction with other photographers in the UK and abroad. These have ranged from – personal projects to editorial assignments and photographs supporting various charities. Jonathan has always worked with NGOs both in the U.K. and abroad. He is a British Red Cross volunteer and has exhibited work in support of International Alert. Jonathan currently works with a stable of blue chip clients, NGOs and architects providing a range of photographic and film services. Jonathan lives in Kent with his wife and two sons. Statement I have photographed in over 50 different countries, documenting subjects as diverse as mask dancing festivals in Burkina Faso, the effects of the Chernobyl disaster in the Ukraine and the aftermath of 9/11 in New York. My international experience includes working in security impaired areas, where my communication skills and sensitivity allow me to capture subjects in the most challenging situations. Combined with my creativity and technical knowhow, this enables me to deliver award-winning images. I am passionate about my work and embrace the challenges of collaborating with global corporations, magazines and NGOs alike. Every assignment is different, and, as such, is approached uniquely. I am always on the lookout for new creative partnerships.
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Call for Entries
All About Photo Awards 2026
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© Fernando Morales Roca
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