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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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James Hayman
James Hayman
James Hayman

James Hayman

Country: United States

After attending The American University for photojournalism, Hayman's first photography assignment was to photograph Nixon and Brezhnev at the 1973 Washington Summit in the White House Rose Garden. Disenchanted with the paparazzi-like frenzy, Hayman went on to study film at the University of California, Santa Barbara, and post-graduate work at New York University, though his photojournalistic roots still inform his practice today. Both his photojournalism and film education led him to travel around the world. He notably traveled to Central America, working for the UN's disaster relief efforts after the 1976 earthquake in Guatemala. This led to several series of photographic work in the region. In the 1980s, Hayman began shooting various independent films in New York City, gaining recognition as the cinematographer for An Autumn's Tale, starring Chow Yun-Fat, which swept the Hong Kong Film Awards in 1987. This led to several years of Hayman working as a cinematographer in China, Japan, and more series of photographic work documenting Asia in the 1980s.

As indie film production in New York City began to end in 1989, he moved to Los Angeles, where he went on to direct and produce multiple television shows and films. Since then, he has directed numerous pilots, including Dangerous Minds and Drop Dead Diva, as well as episodes of The Sopranos, ER, Law & Order, House, Desperate Housewives, and others. Hayman has also worked as an executive producer, most notably on Ugly Betty, which led to winning a Golden Globe Award. He has also been nominated for two Emmy Awards, and a Director's Guild Award.

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More Great Photographers To Discover

Mark Power
Mark Power
United Kingdom
1959
Mark Power is a British photographer. He is a member of Magnum Photos and Professor of Photography in The Faculty of Arts and Architecture at the University of Brighton. Power has been awarded the Terence Donovan Award and an Honorary Fellowship from the Royal Photographic Society. Power was born in Harpenden, England, in 1959. He studied Fine Art at Brighton Polytechnic (1978–1981), and then travelled extensively, discovering a love for photography along the way. Upon his return, he worked as a freelance for several UK publications and charities. Power happened to be in Berlin on 9 November 1989 and photographed the fall of the Berlin Wall. He later published the photographs in the book Die Mauer ist Weg! (2014). Between 1992 and 1996, he embarked on The Shipping Forecast — a project that involved travelling to and photographing all 31 areas covered by the Shipping Forecast broadcast on BBC Radio 4. This project was published as a book and was a touring exhibition across the UK and France. He used a Volkswagen campervan as his mode of transport for the project, echoing the late Tony Ray-Jones, whose work has similarities in style and meaning to Power's. Between 1997 and 2000, Power was commissioned to document the Millennium Dome in London, a project that resulted in another touring exhibition and the accompanying book, Superstructure. Around this time his technical methods changed and he began to use colour film and a large format camera. This was followed by The Treasury Project, published in 2002, which recorded the renovation of the UK government's treasury building on Whitehall, London. In 2003, he undertook another personal project, using the London A–Z map as inspiration. The work, titled 26 Different Endings, is a collection of images examining the areas on the outer boundaries of the map. The project was exhibited at the Centre of Visual Art at the University of Brighton, and was published as a book in 2007. Between 1988 and 2002 Power was a member of Network Photographers. In 2002 he became a nominee of Magnum Photos, an associate in 2005 and a full member in 2007. Between 1992 and 2004 he was Senior Lecturer in Photography at the University of Brighton, becoming Professor of Photography in 2004, until the present. From 2004, he spent five years working on The Sound of Two Songs, on Poland's first five years as a member of the European Union. Between 2006 and 2010 Mark Power collaborated with poet Daniel Cockrill to document the rise in English nationalism. The pair undertook a series of road trips around England, culminating in the book Destroying the Laboratory for the Sake of the Experiment. In 2011 he undertook a commission from Multistory to make work that explored the social landscape of the Black Country through photography and film. He made urban landscapes; a series of photographs of elegant footwear; and a series of short films made in beauty salons, tattoo parlours and nightclubs. In 2014 Power began a self-publishing imprint, Globtik Books, with the publication of his book Die Mauer ist Weg!. Power primarily uses a digital medium format view camera, after he worked with large format film for many years. More recently he diversified into short film making.Source: Wikipedia As a child, Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, though he later went to art college to study life-drawing and painting instead. After graduating, he travelled for two years around South-East Asia and Australia. To support himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of identical paintings for others to sell as their own in the Australian outback (very questionable, this one!) and ended up running the camera department of a large chemist in Bankstown, in the Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera more than a pencil and decided to 'become a photographer' on his return to England, two years later, in 1983.Source: www.markpower.co.uk
Kamil Vojnar
Kamil Vojnar
Czech Republic
1962
Kamil Vojnar was born in the former Czechoslovakia in 1962. He studied at the School of Graphic Arts in Prague and began his career as a Graphic Designer. He left the country illegally (still Communist at the time) and moved to Vienna, and then eventually became a US citizen and finished his studies at the Art Institute of Philadelphia. He continued his career in Graphic Design which later led to illustration and imagery based on photography, working mostly for book and music publishing houses in New York City. At the same time, he continued to make his own imagery. After meeting his partner and having children, going back and forth between France and New York, they finally settled in St. Remy de Provence in South France where Vojnar has concentrated on his own work since 2005. He opened up an Atelier in St. Remy and then one in Paris in 2009, both of which carry his own work.His work consists of images digitally layered from many different photographs and textures. They are mixed-media archival prints on fine art paper or mounted on canvas. Some of his images are layered pictures printed on semitransparent Thai paper. These unique photomontages are then varnished with oil and wax, and on occasion painted with oil paints. Kamil, as a painter, points out, “In a painting, you can paint anything you want. In the photographic [medium], it must, on some level, exist first. That tension between what exists and what is made up is what interests me.” Thus, his images are often subject to very different interpretations (Source: Verve Gallery) About ElsewhereWell, … why … why "e l s e w h e r e"…?Because, … not really here, because not there or … over there, because … somewhere else, … "e l s e w h e r e"!!!In thousand years old small town in south France, I have little studio, tiny Gallery, up on the main street.People from all around the world come to this town. They walk it's ancient streets. Some see my place, some walk in and look around.And they ask … why, … the sky outside is blue, … the buildings ochre yellow, the olive trees pale green, … why are those pictures musty, sepia, dark. Why is their soul heavy? What happened? What has happened to me!And I say … I don't know, … they come to me that way. They are not really from here, they are not so much from there. They arrive from ..."elsewhere". I am just a pair of hands making them happen.I didn't look for them, I didn't choose them. They came to me, … they choose me!Artist? No. … Common' I am no Artist! I just make those little pictures. Just because they happen to me.And because … I cannot do anything else. I cannot do anything else, at least, until every last of them is out, … done.Just a pair of hands I am. Always struggling to let the image out. Always behind in my ability to execute on the paper what pours from ..."elsewhere", via my mind, my heart.It feels like, … really I have no personal connection to those pictures. I am not guilty.Don't ask me what they are, … what they mean. I don't know.Like orphaned kids, I collect them, feed them to grow.They have to be done. They have to get out there.If not me, … then who?Some are easy. Impatiently they bursting out into the openOthers play hide and seek. They leave a hint, they take me all over wrong paths, all around. They let me sweat, they let me freeze. They drag me through dry, dusty deserts, soak me in deepest seas. My shirt is bloody. My face is wet. Sometimes … sometimes I cry. Pure impossibility overwhelms me. Impossibility to make them happen as they appear to me. In their translucent light, through the tears, I see them, … I almost see them.No, I am no Artist. I just … I am just trying to do, … what I … almost … see.Yes, it's true! … I am making one picture over and over again.The same sofa, the same dress, the same image of Jesus on the wall in the background, as I have had throughout my childhood.Wings? … Yes, sometimes, there are wings. But those who carry them, they are no angels.They just want to be free. Pair of wings is like a passport to get away. To get to … elsewhere.E l s e w h e r e, … they say, it's not the destination, it's the journey, that counts.Therefore my little pictures are the humble documentation of that journey.They are the journey!Journey to … e l s e w h e r e!
Maciej Dakowicz
Maciej Dakowicz
Poland
1976
Maciej Dakowicz is a Polish street photographer, photojournalist, gallerist and educator based in Poland. He studied computer science in Poland (2000). He lived in Cardiff, Wales, between 2004 and 2012, where he worked and studied for his PhD at the University of Glamorgan (now the University of South Wales) where he also worked. He left work at the university in 2009 and completed his PhD in 2010. In 2010 he set up and ran Third Floor Gallery along with Joni Karanka and Bartosz Nowicki. He left Cardiff for London, and since 2013 has been based in Mumbai, photographing in Tunisia, Yemen, India and Bangladesh. Dakowicz is best known for his series of photographs of Cardiff nightlife titled Cardiff after Dark, also the name of his later book. Photographed over four years, photographs from the series have featured in magazines and been exhibited in galleries. Individual images from the series have also been used out of context and with misleading captions by the British tabloid media to support a single narrative about alcoholic excess. This tabloid practice has been criticized; for example, Jonathan Jones wrote in The Guardian that "Humour is the most obvious thing about his pictures, and their attraction lies in the way they balance grotesque abandon with poised, coolly beautiful lighting." Sean O'Hagan said in The Guardian that "it is not all outrageousness and vulgarity: Dakowicz also catches the sense of camaraderie and celebration in Cardiff on a Saturday night. He has an outsider's eye for telling detail, a way of showing us, in often brilliantly dramatic fashion and with a degree of gleeful humour, what is right under our noses." In March 2013 Dakowicz became a member of the In-Public street photography collective. His book Sonepur Mela (2021) contains photographs taken at Sonepur Cattle Fair in India between 2010 and 2017. Currently he is mainly occupied with teaching his popular street photography workshops in Asia and Eastern Europe.Source: Wikipedia
Jennifer Garza-Cuen
Jennifer Garza-Cuen
United States
Jennifer Garza-Cuen is an artist from the Pacific Northwest. Currently Assistant Professor of Photography at Texas A&M University-Corpus Christi, she received her MFA in photography and MA in the History of Art and Visual Culture from the Rhode Island School of Design in 2012. Her BA in comparative literature was completed at the American University in Cairo. During both years of her attendance at RISD, she received the RISD GS competitive grant. She was also awarded the Daniel Clarke Johnson, Henry Wolf, and Patricia Smith Scholarships. Additionally, she has received fellowships to attend residencies at The Robert Rauschenberg Foundation, Light Work, Ucross, Oxbow, Hambidge, Brush Creek, and the Vermont Studio Center. Her work has been exhibited nationally and internationally and published in contemporary photography journals such as Dear Dave, Contact Sheet, Musée, Blink, PDN, Der Greif, The Photo Review, and Conveyor Magazine as well as on-line journals such as i-D, Conscientious, Feature Shoot, Aint-Bad, Fubiz, iGNANT, Dazed, and Juxtapoz. Eden Imag[in]ing America depicts a series of locations in the United States as a residue of cultural memory, an inheritance. It is a metaphorical memoir, a narrative re-telling of facts and fictions and it is also a discovery of the dreamland that still is America. Located in Vermont's Northeast Kingdom, Eden appears a quiet community of Adventists, Mennonites, and Quakers where dairy farmers, mill workers, and craftsmen gather at the general stores, dinners are served in old wooden churches, and dances are held at the local Grange Hall. The rivers of Eden all spring from Eden and the views are as ravishing as the garden from which it takes its name. But it is also a hard and rugged place, where resourceful and independent inhabitants still labor stoically, as their ancestors before them.
Laurent Spadotto
Laurent Spadotto
France
1972
For Laurent, a photo is a mirror or a window, often both. Born in 1972, Laurent lives in Bordeaux. A self-taught photographer, he is passionate about literature, still and moving images. In the early 2000s, he wrote and directed several short films. After a career in the web world, he put his skills at the service of the community by creating a non-profit webradio. After 13 years of listening and giving voice to different audiences, he felt the need to express himself again. In 2020, at the dawn of his fifties, he plunged him into a long reflection. He decided to change course and to take a difficult but necessary step to give meaning to his life: to become a professional artist photographer. Rather solitary, he likes to spend time in the company of friends he has never met. A heterogeneous tribe where A. Titarenko, D. Arbus, D. Lynch, A. Hitchcock, The Cure, Nick Cave and many others. With a special affection for Jean Cocteau. Very early on, he followed his advice, « What the public reproaches you for, cultivate it, that’s you ». His work has quickly conquered Instagram and the interest of the public and professionals (press, galleries contests, festivals…). Laurent regularly sells his photos in limited editions to clients in France and worldwide.
Maureen Ruddy Burkhart
Maureen Ruddy Burkhart
United States
1954
My creative quest has always been about the 'journey' as opposed to the 'destination'. The first is experiential, alive, organic; that latter seems rushed. I grew up in places that I now see as exotic, but at the time I just thought it was terribly inconvenient and definitely too far from friends back 'home'. In 1971, at age 17, I left Iran, after three years, in tears and some relief. I immediately thought 'why didn't I take any pictures there?'. I fell in love with that country and its people, but I would not be going back (at least, not yet!). Holding onto what memories I had taken with me, I vowed this would not happen again. So I enrolled in the SFAI. Many years have unfolded since then, and I've been a filmmaker (when 'film' was film), a writer/director, an I.Q. tester, stock photographer, and a documentary and fine art photographer. My most seminal work to date, in terms of how it changed my worldly perceptions, came after spending some three years on and off working for a documentary project in the Kibera slum of Kenya. "Kibera: A Slice of Heaven" earned numerous international awards and press, but my favorite was a local 'Artist of the Year' in Longmont, Colorado. The Firehouse Art Center curator, Jessica Kooiman Parker, called it an 'act of bravery'. Reflecting on that, I realized that bravery is a way to change the world AND the photographer, one heart at a time. The power of photography is truly unlimited. Amidst a crazy world (and always being on the move), I developed a love of landscape photography. Most people acknowledge that nature can be a place of solace and inspiration. While it is definitely the same for me, I've been creating 'scenes' from nature. I often photograph the same landscape over and over, taking my favorite parts of the series and compositing them into a singular landscape that mimics my relationship to it. It's fantasy, whimsy, and hope. In my darker landscapes, there's a moody melancholia…but I never lose sight of the hope. ARTICLES: Exclusive Interview Allegories of Melancholy Garden of Delights Interview About Til Death
Jeff Corwin
Jeff Corwin
United States
1954
Over the years, Jeff Corwin has taken photos out of a helicopter, in jungles, on oil rigs and an aircraft carrier. Assignments included portraits of famous faces, including Bill Gates and Groucho Marx and photos for well-known corporate clients like Microsoft, Apple, Rolls-Royce and Time/Life. After 40+ years as a commercial photographer, Corwin has turned his discerning eye to fine art photography, primarily landscape vistas. He carried his same vision forward, his desire and ability to see past the clutter and create photographs grounded in design. Simplicity, graphic forms, strong lines or configurations that repeat are what personally resonate - a reaction to experience, spirit and instinct. Visual triggers are stark and isolated vistas: a black asphalt road cutting for miles through harvested wheat; an empty, snowy field with a stream creating a curve to a single tree; or a small barn, the roof barely visible above a barren hillside. Trusting his vision is important to Corwin. He has always kept the same approach, the same eye, looking for and adding to the visual qualities that arrest him. This holds true even in his non-landscape work. He cites his mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper as inspiration. His experience has taught him not to second guess elements like composition or content. Humble shapes, graphic lines. Eliminate clutter. Light when necessary. Repeat. His commercial work has won many prestigious awards and garnered vast international media coverage. Corwin's career shift into fine art photography is being met with the same serious attention. He is currently exhibiting in several important contemporary galleries throughout the western United States. Statement "Before I started to devote myself full time to my personal work, I spent 40 years in the world of commercial photography. The majority of my clients were ad agencies and graphic design firms. My photographic focus was on corporate offices, factories, oil refineries and aerospace companies with dark busy manufacturing facilities. I learned that my job title was not "photographer." What I really was - a problem solver. Over the first few years, I developed a style that, with the help of artificial lighting, helped me to see past the clutter and create photographs that were more design than immediately recognizable objects. I worked with whatever was there, all the mundane things that most people walk by or do not notice. I saw great imagery in graphic shapes, shapes that repeat, like patterns in ceilings from ugly fluorescent lights or rows of desks or chairs. It was a created opportunity instead of found. I became known as the photographer to send into hell-holes to bring back the goods (a blessing and a curse). Graphis Magazine once used a quote of mine: "It's amazing how much time I spend lighting, just to get things dark enough." Absolutely true! Once I got past that particular hurdle, I was able to move on to subjects that had real possibilities and make them look even better. But I kept the same thought process, the same eye, looking for and adding to the graphic qualities. (A special shout out to mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper.) On to my current images - landscapes. While certainly not working with the same control I had in the advertising world, it provides, in some ways, more. Or perhaps I should simply different. What I have found is that I could bring the same vision I used for my commercial work into my landscape work. In fact, I do not think I really had a choice. The work I do now is 100% informed by my experience shooting for clients. I see how I see and, after 40+ years of making photographs, it seems foolish to try and change now. I trust that what I have learned works. I have even brought artificial light into the landscapes! Simple shapes, graphic lines, eliminate clutter. Light when necessary. Repeat." Galleries Courtney Collins Fine Art Stapleton Gallery Echo Arts Westward Gallery
B Jane Levine
B Jane Levine
United States
B Jane Levine was raised in the suburbs of New Jersey, a short bus ride from New York City. She has a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise her family. After leaving research, she took an interest in photography and began taking classes at ICP and other online platforms. She further honed her skills through many photography trips all over the world. Her photography spans many genres including street photography, landscape photography, and long exposure cityscapes. Currently, her focus is a series of candid portraits of strangers captured on the streets of New York City. Statement I prefer to capture moments on the street without the knowledge of the subject so that the expression, gesture and/or movement are authentic. Sometimes I get caught and a subject will give me that nod of recognition at the moment of the shot or after I press the shutter. I often go out with no expectations of subject matter other than looking for a moment, which elicits some emotion that I respond to with the subject, it is mainly driven by an internal signal that connects me to the subject or situation. Experimentation keeps me in the moment. I try to respect the subjects that I photograph. People show themselves on the street the way they want others to perceive them. I take an image of a moment, which I observe with no other intent other than to memorialize the moment, which I recognize is real for the subject as well as myself. The people in the photographs all possess a characteristic, gesture, or physical trait that I identifies as part of my own story. The series is a composite of pieces of my life – a self-portrait.
Mahesh Balasubramanian
Mahesh Balasubramanian
India
1973
Mahesh is an Independent Photographer from Chennai, India. His works are published in various international magazines like National Geographic Traveler US, BLUR, Digital Photo UK, Wanderlust UK, Dodho, etc. He has won many international awards like National Geography Traveler Photo Contest, 1x, PX3, IPA, Siena Photo Awards, Monovisions Photo Awards, etc. Adobe has also chosen one of his photos for Adobe Lightroom as a Splash Screen (startup screen). Marina: Marina is the longest natural urban beach of India, along the Bay of Bengal. It is one of the major attractions in Chennai, India. Marina Beach is full of activity in the early morning hours and in the evenings. If we stroll along the beach, we could see kids playing cricket, volleyball matches, fish markets, flying kites and much more. It is also a pleasant experience to walk along the beach during sunrise and sunset. There is full of life at every corner of this place. I have been taking pictures in and around Marina for the past 8 years. I tried to document, the true essence of people activities in & around the beach in various time periods. I wanted to portray Marina Beach’s character and how important it is for people. The following set of pictures is my way of interpretation of Marina Beach, Chennai, India.
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Latest Interviews

Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
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Exclusive Interview with Frank Meo
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Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
Interview
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
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
Interview
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.
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Exclusive Interview with Anastasia Samoylova
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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.
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Exclusive Interview with Marijn Fidder
Interview
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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