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LAST CALL TO WIN A SOLO EXHIBITION IN MAY 2026 - DEADLINE APRIL 21
LAST CALL TO WIN A SOLO EXHIBITION IN MAY 2026 - DEADLINE APRIL 21
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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

Brooke Shaden
Brooke Shaden
United States
1987
Brooke Shaden is a fine art photographer, mixed media artist, and writer specializing in conceptual imagery and self-portraiture. She grew up in Lancaster, PA and has two degrees in English Literature and Filmmaking. Brooke has always seen the world as a dark yet beautiful place. Inspired at a young age by mortality, she has always had a fear of death and a fascination with it. That intrigue morphed into a deep desire to portray grief in a positive way, and that north star has guided her work since 2009. Over the past fifteen years, Brooke has helped new artists to reflect the way they see the world in their art and to heal through the experience. She specializes in finding beauty and darkness and utilizing a gentle approach to bring others into that space. Community is at the forefront of Brooke’s life. She hosts an annual creativity conference called Promoting Passion which focuses on our purpose, legacy, and impact. Outside of her own convention, Brooke speaks to crowds of thousands throughout each year to inspire personal growth and reflection. Represented by five galleries and with work collected by museums, her art has made an indelible mark and has inspired hundreds of thousands of up-and-coming photographers. With sponsorship from companies like Sony and Microsoft, Brooke has made it her mission to share inspiration far and wide. She was named in the top 10 most influential photographers, photographer of the year, winner of Ron Howard’s Project Imagination, and received the distinguished alumni award from her high school in 2019. In 2026, she signed a 2-book deal with HarperCollins to publish her dark fantasy books. Brooke co-founded The Light Space, a photography program for those vulnerable to human trafficking, and was a foster parent from 2019 to 2023 to six children. When Brooke isn’t making visual art or traveling, she’s either reading or writing fiction. Statement Brooke Shaden’s work blends nature and grief in darkly surreal compositions. Her process is largely solitary self-portraiture, allowing herself to be the character and the creator at once. Inspired by a childhood of intense fears, and later by the hard-won lessons of learning to say goodbye to her foster children, Brooke creates works that elicit hope while never shying away from darkness. Many of Brooke’s images are created on location, as her passion is as much for the art as the process of being in nature and integrating her surroundings in Northern Arizona. Guided by the philosophy that embracing ephemera leads to a fuller life, much of Brooke’s imagery focuses on how we can find beauty in grief by learning to release our attachments. Brooke has been a full-time artist since 2010 and continues to push boundaries in her genre, inspiring thousands of new artists to express their purpose in innovative ways. Article Exclusive Interview All About Photo Awards All About Photo Awards 2020 All About Photo Awards 2026
Ghawam Kouchaki
Ghawam Kouchaki
United States
1991
Ghawam Kouchaki is a filmmaker and photographer based out of Los Angeles. After completing his first short film, his passion for cinema grew and sent him down a path to follow in the footsteps of filmmakers he’s admired like Edward Yang, Krzysztof Kieslowski, Michael Mann, and Toshiaki Toyoda. His photography has been exhibited in Tokyo at Gallery Conceal and at Grainmaker Studios in Los Angeles. He likes to get up-close and personal to his subjects. Ghawam is currently working on a photobook based on his last trip to Japan titled, Tokyo No-No.
Hendrik Kerstens
Hendrik Kerstens
Netherlands
1956
Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
 However, Kerstens was not just imitating painting. As the series progressed, he became increasingly interested in the game of creating a conceptual and humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a thoroughly modern hoodie into a classic and timeless garment. Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday reality while expressing his love for his child, and the knowledge and development of his craft.Source: Danziger Gallery Hendrik Kerstens' (1956) oeuvre consists of a consequent sequence of portraits from his muse, his daughter, each time with a different angle, meaning or purpose. In the hemisphere of the radically realist paintings of the Dutch Golden Age, Kerstens explores the photograph as a surface, a platform to study contemporary ordinary objects and its meaning in historical tradition. With his typical selection for down-to-earth forms of headwear, from a napkin, a wet towel, spheres of lace to folded aluminium foil, he recalls how daily life has always been an integral subject of art, whether in the 17th or in 21st century. With his clear ambition to illustrate the dialogue between history and contemporary life, rich and sober, functional and valuable, Kerstens also accomplishes to renew and contemporize history while boosting the position and function of day-to-day objects. In connecting todays photography techniques with the camera obscura techniques in earlier times, Kerstens raises awareness for the use and development of the photographic process. It is not accidental that he is a state-of-the-art perfectionist, taking nothing for granted and giving a lot of attention to the work process. The printing proces itself, the hardly visible transition of the many dark tones, the interplay of light and shadow, Kerstens dedicates himself completely in refining the image, where details and the way of looking play a key role. Kerstens, who worked many times with Kathy Ryan from The New York Times Magazine, was awarded the PANL award (2001) in the Netherlands; the Taylor Wesing Photographic Portrait Prize (2008) at the National Portrait Gallery in London, the silver LeadAward Medaillon, Porträtfotografie des Jahres (2010) in Germany and the 11th Lucie Award (2013). Kerstens work and ideas were included in Alexander McQueen's spectacular show The Horn of Plenty: Everyting but the Kitchen Sink, a retrospective on 15 shocking years in fashion.Source: Flatland Gallery Galleries:   Danziger Gallery   Jenkins Johnson Gallery   Dean Project   Flatland Gallery
Alessandro Natalini
Alessandro Natalini
Italy
1999
My name is Alessandro, a photographer from Rimini, Italy. Through photography, I explore my inner world and transform emotions into images where others can see themselves reflected. I believe photography is one of the strongest instruments we have to connect as human beings. AAP Magazine AAP Magazine 54 Nature
Ellen Cantor
Ellen Cantor
United States
Ellen Cantor is a Southern California artist who uses the camera to reimagine the family photo album and objects that hold personal histories in order to explore the distillation and persistence of memory. She received a BS from The University of Illinois at Champaign-Urbana and continued her education in Interior and Architectural Design at UCLA. Her work has been featured in 19 solo exhibitions including dnj gallery, Santa Monica, CA, The Griffin Museum of Photography, The Center for Fine Art Photography, and The Spartanburg Museum of Art. She was a Critical Mass finalist in 2015 and 2016 and winner of the Julia Margaret Cameron Award for Women Photographers as well as first place in the Fine Art category. Since 2016, she has participated in over 25 national and international group exhibitions which include the Italian Cultural Exchange in Naples, Italy. Her photographs have been published in Harper's Magazine, Muzee Magazine and SHUTR Magazine and online in Lenscratch, f-stopmagazine, fraction magazine, rfotofolio, Voyage LA Magazine, My Daily Photograph, Lightleaked, a photo editor, Float Online Magazine, thisiscolossal.com and Silvershotz. Ellen is represented by dnj gallery, Santa Monica, CA, Susan Spiritus Gallery, Irvine, CA and Truth and Beauty Gallery, Vancouver, BC, Canada. Upcoming shows: VISUAL DNA... the language of photographs at dnj Gallery, Santa Monica in March, 2020 Mimi and Her Purses at the Griffin Museum of Photography, Winchester, MA in Spring, 2020
Claudia Tombini
Claudia Tombini
Italy
1968
Born in Rome in 1968, after an initial artistic training, Claudia Tombini studied Architecture at La Sapienza University. After graduating, she followed a PhD in Architecture - Theories and Design at the DIAR department of the same University. Professionally active in her hometown since 2006, she carries out her work independently after a three-year collective experience with studio A4, winner of several mentions and awards. Specialized in architectural design, she has always combined research and design. Her latest work is the restoration of the Troisi Cinema in Trastevere. In 2016 she began her own photographic research, collaborating in some of Officine Fotografiche's activities. In 2019/20 she participates in "Human" curatorial workshop with Luigi Cecconi and Francesco Rombaldi, from Yogurt Magazine, during which she elaborates her own project MoveTo LineTo. Moveto Lineto "'Living is an art of spacing,' as Jean-Marc Besse teaches us, and living is mainly a question of geography. After a lifelong dedication to architecture I now discover, thanks to these words, that living is not about architecture or city planning, nor, more generally, about construction: living is geography. There is a human sense to architecture, which even preexists architecture, as we actually live our lives outside of it, in an unbroken series of passages, intersections, and places which all leave their own special resonance and memory inside us. As I move through these, without ever pausing in the gaps — sometimes more, sometimes less consciously — I find myself measuring out the distances I have covered. Not in terms of space, though, as when it comes to landscapes distance is actually temporal, and measuring it out in its complexity is no easy task. As Matteo Meschiari has said, what I am after is “an altered state of conscience in which the landscape is simultaneously medium and recipient, cause and effect, reactor and reaction”: it is a matter of sensorial dilation. I gaze back on these landscapes, “before” and “after”, I scrutinize them to reproduce them virtually, searching for the same old viewpoints, as if they were light years away. This is the effect any catastrophic event will have on us, namely making us believe that all linearity is forever lost, as if time actually flowed in a linear way. Knowledge will not do, knowing that history is all but linear is not enough: we won’t give up our linear idea of it, and we will feel lost when confronted with any interruption of it, with any interval, any blank gap, no matter how temporary. I have been ceaselessly trying to heal the wounds that the surface of things displays, because it is on the surface that we move, it is the surface we perceive, with its naked spaces, where only the absence or the lost track of what has happened is visible. Indeed, any figuration registers an appearance that is destined to vanish, and it is through imagination that we manage to value what is actually not there. It is through the abstraction of a virtual image, an image never completely resolved in its structure and its appearance, that I have been trying to turn the image itself into matter, and thereby restore to it a potential wholeness that I feel is unattainable to me today. This new matter will do, for the time being, to represent the times and places of our passages, and the gaps in between. Like a postscript file, it will be readable in its own right, by its own definition. " -- Claudia Tombini
Robert Capa
Robert Capa
United States
1913 | † 1954
Robert Capa (born Endre Friedmann; October 22, 1913 – May 25, 1954) was a Hungarian war photographer and photojournalist as well as the companion and professional partner of photographer Gerda Taro. He is considered by some to be the greatest combat and adventure photographer in history. Capa fled political repression in Hungary when he was a teenager, moving to Berlin, where he enrolled in college. He witnessed the rise of Hitler, which led him to move to Paris, where he met and began to work with Gerta Pohorylle. Together they worked under the alias Robert Capa and became photojournalists. Though she contributed to much of the early work, she quickly created her own alias 'Gerda Taro' and they began to publish their work separately. He subsequently covered five wars: the Spanish Civil War, the Second Sino-Japanese War, World War II across Europe, the 1948 Arab–Israeli War, and the First Indochina War, with his photos published in major magazines and newspapers. During his career he risked his life numerous times, most dramatically as the only civilian photographer landing on Omaha Beach on D-Day. He documented the course of World War II in London, North Africa, Italy, and the liberation of Paris. His friends and colleagues included Ernest Hemingway, Irwin Shaw, John Steinbeck and director John Huston. In 1947, for his work recording World War II in pictures, U.S. general Dwight D. Eisenhower awarded Capa the Medal of Freedom. That same year, Capa co-founded Magnum Photos in Paris. The organization was the first cooperative agency for worldwide freelance photographers. Hungary has issued a stamp and a gold coin in his honor. Source: Wikipedia On 3 December 1938 Picture Post introduced 'The Greatest War Photographer in the World: Robert Capa' with a spread of 26 photographs taken during the Spanish Civil War. But the 'greatest war photographer' hated war. Born Andre Friedmann to Jewish parents in Budapest in 1913, he studied political science at the Deutsche Hochschule für Politik in Berlin. Driven out of the country by the threat of a Nazi regime, he settled in Paris in 1933. He was represented by Alliance Photo and met the journalist and photographer Gerda Taro. Together, they invented the 'famous' American photographer Robert Capa and began to sell his prints under that name. He met Pablo Picasso and Ernest Hemingway, and formed friendships with fellow photographers David 'Chim' Seymour and Henri Cartier-Bresson. From 1936 onwards, Capa's coverage of the Spanish Civil War appeared regularly. His picture of a Loyalist soldier who had just been fatally wounded earned him his international reputation and became a powerful symbol of war. After his companion, Gerda Taro, was killed in Spain, Capa travelled to China in 1938 and emigrated to New York a year later. As a correspondent in Europe, he photographed the Second World War, covering the landing of American troops on Omaha beach on D-Day, the liberation of Paris and the Battle of the Bulge. In 1947 Capa founded Magnum Photos with Henri Cartier-Bresson, David Seymour, George Rodger and William Vandivert. On 25 May 1954 he was photographing for Life in Thai-Binh, Indochina, when he stepped on a landmine and was killed. The French army awarded him the Croix de Guerre with Palm post-humously. The Robert Capa Gold Medal Award was established in 1955 to reward exceptional professional merit. Source: Magnum Photos
Sara Markese
Sara Markese
United States
1975
Sara Markese is a child psychologist by day and a photographer in every spare moment in between. A long hiatus from creative work began anew as she returned to photography, and macro photography especially. With a background in psychoanalytic clinical psychology training at the CUNY Graduate Center, NYC, research in microanalysis of mother-infant communication at Columbia University NYSPI, and study of mother-infant howler monkeys in Nicaragua, as well as a decade as a play therapist in NYC and fifteen more years in play therapy since, she has always been a keen observer of behavior, nuance, affect and detail. She approaches photography as she did cherished treasure walks as a child, letting her eye be caught and emotion and visual wonder guide the image. She uses simple elements of nature, daily life and common objects, and childhood themes of wonder, hiding, seeking and peeking to create feeling mementos in each photograph. With a focus on bringing elements of color, light and simple detail to center stage, her photographs encourage the viewer to see things as they would look if you just got on your knees and peered carefully. Champion of the tiny, wanderer with purpose, she is drawn to the things out of place, the slivers of light and gleams of color. In her work, she seeks to show the world in its infinitesimal detail and beauty, to convey the majesty of the miniscule and the extraordinary nature of the ordinary things that go unnoticed in our bustling world. She is often a quiet observer, always with camera in hand, moving through the many busy places she has lived. Raised in suburban Chicago, she has lived in NYC, Boston, and now lives in suburban Washington DC. Amidst the busy pace of life as a therapist, photographer and mother to a dynamic 9-year-old daughter, she strives to be in complete stillness and silence when she is with her camera, known to spend hours on a square foot of grass in the “wild” of her backyard or a local park or trail where most of her work is focused. She teaches creative photography for children with an emphasis on the development of their unique artistic perspective alongside basic photography skills, composition and exploration of different photographic styles. She has had her work exhibited at Praxis Gallery, PhotoPlace Gallery, SE Center for Photography, Black Box Gallery, and LoosenArt Gallery in Rome as well as featured in ArtDoc Magazine online and several issues of F-Stop Magazine. Wayward Summer - Project Statement: Summer can be like a Sunday. Too long, lonely and quiet in all the wrong places. A respite awaited and longed for, only to arrive with an aura of loss before it starts. Summers growing up in suburban Chicago felt that way, oppressively humid, stretching, and filled with unease as I wandered the micro world of my backyard dreading the end of the season. At night, to the contrary, everything seemed to come to life on my block. Then I was missing out, peering out my window while the sounds of neighborhood games rang from the street. I was inside looking out, like I was in another world. Since then, I’ve been in many other worlds, only to find myself back as I approach my fiftieth year as a wife and mother in the suburbs of Washington DC. Back in a suburban summer and back in that old feeling. Lost. It started as I followed my daughter, my lovely, brilliant, precociously independent daughter, Elodie, who I have been following for nine years, since she was able to walk and always way ahead of me. It was different this summer, though. Admittedly, something in me was unsettled already. I had always followed her and then joined, but now she spent her time in the deep end, doing things that just didn’t involve me and suddenly I was not following or joining. I was sitting alone. And there was that familiar disconnected feeling –sitting with time, with loneliness, with space, with thoughts – she will grow up, I will miss her – sitting with sadness, with self. Summer is long, and so there is July, like I just described, and there is August. I have tried to remedy my August malaise with an end of summer trip. My daughter and I always leave my husband at home to go on a road trip. I look forward to our trip as a gift from rushing through our days, time to spend freely exploring, roaming, adventuring, being as we wish, together. We have done this since she was very small, and she has always been beyond her years in her ability to roll with the long stretches and unknowns a road trip can bring even with the best planning. We usually know where we are going, but not this year, I didn’t know where to go and didn’t have it in me to plan. No direction, and now she is older, even farther ahead, leaving me to watch from further away. I found myself left with time - to sit and be still, to look at what was near, to gaze at my own hands, the poolside, the light reflecting off the table, the sand on my feet - and then she would return to show me what she created, often bringing me a gift to see or photograph. The gift of a memory shared. We were very often together too, in laughter, joy, closeness, and when she was still and we were together, that was a gift too, and those photos are rare but treasured. “Wayward Summer” is about loss and its depths, but also about turning “lost” into finding a way forward. As much as the feeling of too much space has always been disquieting, I also love to be lost. Wandering is and has always been my strength and my joy. From my childhood lost in the world of grass, bugs and dirt in the backyard, to driving blindly through the Chesapeake on an August trip with my 9-year-old daughter this summer, loss and “lost” are entwined in all my most deeply meaningful experiences. “Wayward Summer” is a project about all the moments that make a summer, the bright, the quiet and calm, the lonely and lost ones, and the turning of feeling lost into wandering. I found that unleashing purpose from the equation and accepting disconnection led me back to one of my greatest joys – untethered wandering. It allowed me to find beauty in the tiny details that stillness allows and a way to see moments that won’t last or stay still because they cannot and should not. The pictures in this series are all memory mementos – each contains elements of the mood evoked, sensory recollections and traces of the thoughts and feelings I was having as I watched my daughter play, learn, leave. Summers have a life of their own and can feel like a lifetime. In that, they can generate enormous unease, but also have room for so much growth. Children come back and they have changed, grown taller, sound different, want different, need less. Summers allow us a burst of freedom, a chance for joy, connection and change before we return to our lives overcome by time demands, structure, separation and parallel movement. They are a treasure veined with the knowing that they will end, but the memories glimpsed as they unfold when we are forced to let go are mementos of the magic that filled them. Awarded Photographer of the Week - Week 42
Mark Cohen
Mark Cohen
United States
1943
Mark Cohen (born August 24, 1943) is an American photographer best known for his innovative close-up street photography. Cohen was born and lived in Wilkes-Barre, Pennsylvania until 2013. He attended Penn State University and Wilkes College between 1961 and 1965, and opened a commercial photo studio in 1966. The majority of the photography for which Mark Cohen is known is shot in the Scranton/Wilkes-Barre metropolitan area (also known as the Wyoming Valley), a historic industrialized region of northeastern Pennsylvania. Characteristically Cohen photographs people close-up, using a wide-angle lens and a flash, mostly in black and white, frequently cropping their heads from the frame, concentrating on small details. He has used 21 mm, 28 mm, and 35 mm focal length, wide-angle, lenses and later on 50 mm. Cohen has described his method as "intrusive." Discussing his influences with Thomas Southall in 2004 he cites "... so many photographers who followed Cartier-Bresson, like Frank, Koudelka, Winogrand, Friedlander." He also recognizes the influence of Diane Arbus. Whilst acknowledging these influences he says: "I knew about art photography... Then I did these outside the context of any other photographer." Cohen's major books of photography are Grim Street (2005), True Color (2007), and Mexico (2016). His work was first exhibited in a group exhibition at George Eastman House in 1969 and he had his first solo exhibition at the Museum of Modern Art in New York City in 1973. He was awarded Guggenheim Fellowships in 1971 and 1976 and received a National Endowment for the Arts grant in 1975. In 2013 Cohen moved to Philadelphia, Pennsylvania.Source: Wikipedia Mark Cohen was born in Wilkes-Barre, Pennsylvania where he lived and photographed for most of his life. (He now lives in Philadelphia.) His work was first exhibited in 1969 at the George Eastman House but came to prominence with his first solo exhibition at MoMA in 1973. Known primarily for his black and white images, Cohen was also a pioneer of the 1970s color movement that changed American photography. Shooting in the gritty environs of working class Pennsylvania, Cohen brought to street photography a literal and innovative closeness that came from his style of holding the camera at arm's length without looking through the viewfinder while using an unusually wide-angle lens. Intrusive but elegant, by turns brutal and sensuous, Cohen’s cropped bodies and faces and gritty still lives and landscapes reveal a finely tuned aesthetic and consistency. No background behind the looming foreground figures is without interest. No random object is observed without purpose. "They're not easy pictures. But I guess that's why they're mine." Says Cohen. Cohen is the recipient of two Guggenheim Grants and his work is in the collections of major museums from the U.S. to Japan. His most recent retrospective in 2013 at Le Bal in Paris and the accompanying publication Dark Knees were singled out by critics around the world as outstanding achievements in photography. Source: Danziger Gallery In many of the images, the points of attraction are clear: a giant football eclipsing the skinny torso of a young boy; the shining eyes of a black cat; a woman_’_s bare midriff beneath a pair of high-waisted cutoff shorts. We can imagine glancing or even staring at these subjects ourselves, taking in their rough-hewn idiosyncrasies. But it is in the moment that follows, when most of us would avert our eyes and move on, that the American street photographer Mark Cohen makes his work, moving forward, toward children, young women, dirty and shirtless strangers, until his wide-angle lens is close enough to bump bellies. In the nineteen-seventies, shooting in and around his native Wilkes-Barre, Pennsylvania, a small industrial city far outside the urban centers where street photography was born, Cohen pioneered an aggressive, if not invasive, approach to his craft, shortening the distance between photographer and subject until heads were lost to the frame’s edge and only collar bones and clipped limbs remained. “I have been pushed and shoved and screamed at, but nothing serious,” he has said. “I am always aware of the edge.”Source: The New Yorker “Cohen’s black-and-white photos… are deliberately disconcerting, almost vulgar… Heads are cropped out of the frame; truncated hands, legs and arms loom monstrously into view; perspective warps. Cohen wasn’t alone in his harsh, comic view of down-home America, but his in-your-face take and fragmentary results were jarringly unique, and much imitated.” -- Vince AlettiSource: The Village Voice
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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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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
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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