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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Joanna Borowiec
Joanna Borowiec
Joanna Borowiec

Joanna Borowiec

Country: Poland
Birth: 1971

Joanna Borowiec, a graduate of the European Academy of Photography in Warsaw, diploma thesis in the Creative and Expressive Photography Workshop, Dr Izabela Jaroszewska. Member of the Association of Polish Art Photographers (ZPAF). Scholarship holder of the Ministry of Culture and National Heritage 2020.

Photography Workshop. Enthusiast of medium- and large-format analogue photography. Uses historic photographic processes like ambrotype – wet collodion technique, cyanotype e.c.t. The main topic of her photos is humanistic photography, human.

Winner International Photography Awards IPA 2021- category Deeper Perspective Photographer of the Year. She was also awarded the third place in Photographer of the Year category of the Black& White Spider Awards competition. Prize-winner of the Portfolio Black + White Photography UK, the Portfolio Black & White for Collectors Of Fine Photography Canada, the Portfolio 2012 Shot Magazine USA. Her works and interviews with her were published in many magazines, i.a. the Black+ White Photography UK (the cover), the Shot Magazine USA, the Black and White Magazine Canada and in national magazines. Her photographs can be found in public and private collections at home and abroad, i.a. in Switzerland, Spain, Italy, Sweden, USA e.c.t. She has participated in individual and collective exhibitions at home and abroad, i.a. in Poland, Germany, Spain, Singapore, Canada, USA e.c.t.



Blue Story
Many of my cyanotypes are created by layering a combination of objects and film imagery with carefully timed light exposures for a depth of blue/indigo colors. Inspired by nature and how we interact with it, I arrange natural objects such as leaves, flowers and vines with human made objects or images of objects. I choose to work with cyanotypes "live", in sunlight for the spontaneity of arranging the objects and often have a general idea of what I want to do allowing for of-the-minute additions and subtractions of objects and timing of exposures. I sometimes add acryl paint, or colored pencil to a washed and dried print. Cyanotype is a contact print process using treated, UV light sensitive paper. It results in a Prussian blue final print. Also known as photogram, sun print. The English scientist and astronomer Sir John Herschel discovered this procedure in 1842. (...) Due to the coating and printing process Cyanotypes are always non reproducible unique items in itself.

Dreams Unfinished
It is a story about pain, love and longing. The photos were taken after the death of my father. He passed away suddenly in his sleep. I could not understand what happened, to come to terms with the loss. I looked for him everywhere and imagined he was asleep and dreaming. As a result, I have contact with him in the dream world he is with me. Works depict dreams, motifs, shards of memories which probably appear in everyone's dreams. Dreams - eternal companions of human life - encourage us to analyse our own experiences and understand our fate. They enable us to bring to surface deeply hidden secrets and go beyond the earthly matters. These records are born out of imagination and perishable ephemeral memory. They are not meant to be unambiguous; they should leave the door open for free interpretation and free reading to enable everyone to supplement them with their own story.

Glass Faces
"The eyes and faces all turned themselves towards me, and guiding myself by them, as by a magical thread, I stepped into the room" Sylvia Plath
Glass Faces present unique, enchanting, climatic and hypnotising portraits. Bewitching with natural beauty and somewhat unreal, mysterious, silent and oozing various emotions. Faces of friends and people we have just met. Ambrotypes - positive images created on a sheet of glass using the 19th century wet collodion process - are the vital element of the project. The ambrotype is inimitable. You may try to reproduce it, but a piece created on black glass remains unique. Ambrotype - Ambrotos means immortal...

I was born in a camp
The story of Jan Chmiel, who was born in the Waltrop forced labor camp - a city in western Germany. According to a record issued by a German official, he was born in 1944. , according to information provided by the mother in 1942. Of the 143 children captured in the Waltrop camp, three survived, including Jan.
 

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Lindokuhle Sobekwa
South Africa
1995
Lindokuhle Sobekwa (born 1995) is a South African documentary photographer. He is a Nominee member of Magnum Photos and based in Johannesburg. Sobekwa was born in Katlehong, a township, 35 km from Johannesburg, South Africa. He learned photography in 2012 through participation in the first Of Soul and Joy Project, an educational program for young people run in the township of Thokoza; the workshop was given by Bieke Depoorter and Cyprien Clément-Delmas. His photo essay, Nyaope, about people who use the drug Nyaope in the township in which he lived and beyond, was published by the South African newspaper Mail & Guardian in 2014 and by Vice Magazine and De Standaard in 2015. Source: Wikipedia In 2015, Sobekwa received a scholarship to study at the Market Photo Workshop where he completed his foundation course. His Series Nyaope was exhibited in the ensuing group show, Free From My Happiness, organized by Rubis Mecenat at the International Photo Festival of Ghent in Belgium. In 2016, he left South Africa for a Residency in Tehran, Iran, with the No Man’s Art Gallery. The same year his work was displayed in the traveling iteration of Free from my Happiness. His work features in the book Free from my Happiness edited by Bieke Depoorter and Tjorven Bruyneel . He also took part in the group show Fresh Produce, organized by Assemblages and VANSA at the Turbine Art Fair in Johannesburg. Lindokuhle Sobekwa is also an assistant manager to the Of Soul and Joy Project, as well as a trainee at Mikhael Subotzky Studio. In 2017, Sobekwa was selected by the Magnum Foundation for Photography and Social Justice to develop the project I Carry Her Photo With Me. In 2018, he received the Magnum Foundation Fund to continue with his longterm project Nyaope, and has been selected for the residency Cité des Arts Réunion. Sobekwa became a Magnum nominee member in 2018.Source: Magnum Photos About I Carry Her Photo With Me The day his older sister Ziyanda disappeared, Lindokuhle Sobekwa was hit by a car. The two were walking together along a road in the Johannesburg suburb of Thokoza when Ziyanda began to chase the seven-year-old Sobekwa. Out of fear, he began to run, and then he was hit. Above him, he recalled before blacking out, was the blurry silhouette of a woman or girl. His sister vanished in the ensuing scramble, with no word as to why. “She was in a period of being a very secretive person,” Sobekwa remembers. She was thirteen years old. Sobekwa would not see Ziyanda again for a dozen years. Then one day, he returned from school, and Ziyanda was at home. She was reunited with the family for a couple of weeks. At the time, in 2014, Sobekwa was coming into his own as a photographer. He was in his final year of high school and working under the mentorship of Magnum photographer Bieke Depoorter and filmmaker Cyprien Clément-Delmas through the Of Soul and Joy project, an artistic initiative based in Thokoza. He remembers walking into Ziyanda’s room one day; in that moment, he saw his favorite would-be portrait of his sister: “She was lying in bed, there was a beautiful light. She said, ‘If you take a photo, I’m going to kill you.’ A few days after that, she passed away.” Disappearances are not rare in South Africa, Sobekwa says. Most Black South African families are familiar with the trauma of disappearances, which date back to the late 1980s and early ’90s, the height of the apartheid crisis. During this time, an ethnopolitical war between two rival parties, the African National Congress (ANC) and the Inkatha Freedom Party (IFP), suffused the townships with panic, as residents along the factional line were routinely vanished by violence. In Sobekwa’s family, the cycle began with his grandfather, who was the first of the line to come to Johannesburg, in the 1960s. He never returned to the countryside; his fate is still unknown. In 2017, the Magnum Foundation named Sobekwa a Photography and Social Justice Fellow. Suddenly, he had the resources to expand his search for his sister and develop his personal journal into a full-fledged series, I carry Her photo with Me (2017–ongoing). “I had my own unanswered questions, maybe guilt of some sort,” says Sobekwa. “I felt the need to go into these spaces and make the camera my excuse. I realized that going alone, it would be difficult.” With his camera in hand, he slipped once more into the role of documentarian.Source: Aperture
Charles Muir Lovell
United States
1952
Born in Chicago, Charles Muir Lovell lives and works in New Orleans. He holds an MFA in photography from Central Washington University and a BS in photography from East Texas State University. He began photographing as a young man traveling throughout Europe and South America. He continued his photography practice during his over 20 years as a museum director and curator, a career that took him from the Pacific Northwest to the Southwest and Deep South, everywhere finding distinctive cultures and photography subjects. Lovell has long been passionate about photographing people within their cultures. Upon moving to New Orleans in 2008, he began documenting the city's second line parades, social aid and pleasure clubs, and brass bands, capturing and preserving for posterity a unique and vibrant part of Louisiana's rich cultural heritage. An earlier series based on religious processions in Mexico, El Favor de los Santos, was a Rockefeller Foundation–supported international traveling exhibition and resulted in a book published in 1999 by the University of New Mexico Press, Art and Faith in Mexico. Lovell's photographs have been exhibited nationally and internationally, are found in several permanent collections, including the New Orleans Museum of Art and the Historic New Orleans Collection, and can be seen at www.charleslovell.com and on Instagram @charleslovellart. He received the 2020 Michael P. Smith Documentary Photographer of the Year Award from the Louisiana Endowment for the Humanities. Lovell has also developed a series of photographs called Language of the Streets he began while an artist-in-residence at the Emily Harvey Foundation in Venice, Italy, in 2006–2007. He returned to Venice for a second residency in 2015 and was scheduled to return in 2021 until coronavirus shut everything down. He has continued this series in Naples, Paris, Mexico City, New York and New Orleans. Statement "As a young man, I traveled through Europe and Latin America with my Nikon, living as one of the family with friends in the countries I visited. My travels hugely influenced my work, opening my eyes to how other people lived. As a visual artist, I gravitated toward photographing people within their cultures, trying to capture on film something true about their lives. College and grad school took me to small-town Texas (Commerce) and Washington (Ellensburg), and a long museum career took me to the Pacific Northwest (Tacoma), Southwest (Yuma, Ariz.; Las Cruces and Taos, N.M.) and Deep South (Greenville and Greensboro, N.C., and New Orleans); everywhere I found distinctive cultures and compelling photography subjects. While living in New Mexico, I traveled in Mexico photographing Holy Week religious processions, foreshadowing my current and most significant photographic project: documenting and preserving New Orleans' unique second line parade culture. Upon moving to New Orleans, I became fascinated by the pageantry and celebratory nature of the city's African American cultural tradition of second line parades. I was captivated by their visual richness, their ritual and history, and how they express a vibrant cultural and artistic heritage, intensely alive yet intimately connected to the past. The massive amount of industry that the social aid and pleasure clubs invest in creating their magnificent costumes, decorations, baskets, umbrellas and banners-truly a labor of love-blew me away. Documenting these visually stunning parades quickly became a passion-and a commitment. For more than 10 years, I've followed the weekly parades, taking tens of thousands of color photographs. I've formed friendly relationships with members of the social aid and pleasure clubs that stage the parades, allowing me behind-the-scenes access, resulting in distinctive photographs. My color photographs vividly capture the paraders and brass bands in their elaborate custom-designed, hand-sewn costumes, and the dancing parade followers, revealing the festive mood of these sacred moments of cultural celebration, and preserving them for posterity. I take great care to portray these spirited-and spiritual-ceremonial moments honestly, sensitively and respectfully. In the 20th century other American photographers-notably Ralston Crawford, Lee Friedlander and Michael P. Smith - also documented this cultural tradition, but in black and white. My use of color lets me capture not just the atmosphere of the parades but also their incredible vividness. Formerly I used traditional photographic techniques, but now I embrace new digital methods, bringing to the subject a fresh approach for the 21st century. Taken as a whole, my photographs capture the rich cultural history of second-line parades, a significant artistic and ceremonial tradition deeply rooted in New Orleans' African American culture and unparalleled elsewhere in the United States. I hope that my photographs will increase awareness of the importance of preserving second-line parade culture and contribute to the understanding of Louisiana and its culture, which has sometimes suffered from scholarly neglect and seemingly insurmountable cultural and economic challenges. Another photographic series I have pursued over the years is Language of the Streets, which began taking shape in 2007 during an artist residency at the Emily Harvey Foundation in Venice, Italy. After working in large-format silver gelatin and color photography for over 20 years, I began exploring digital photography using a small-format digital camera. Upon my return to New Mexico, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center for the Arts in 2008. My residency in Venice was extremely influential in the work I began doing after moving to New Orleans in 2008. I began using a medium-format digital camera to make higher-resolution color photographs. Since 2009, I have fully transitioned to a digital practice. I make my own prints on an Epson inkjet printer and work with professional printers on larger works. From the experience of taking street photographs in Venice, I continued my series Language of the Streets in New Orleans, as well as in Naples, the Amalfi Coast, Paris, Mexico City and New York City. In 2015, I was invited back to the Emily Harvey Foundation, where I designed and presented an accordion artist's book, or leporello, featuring the Venice series of photos. Off the Street: New Orleans and Venice, part of the Language of the Streets series, investigates similarities and differences between the two cities, which share a striking mixture of high and low, old and new, closeness to and dependence upon water, a vital tourism sector, a proliferation of graffiti and outdoor art alongside unparalleled historic architecture. My street photographs from the two cities explore back streets not seen by tourists frequenting commercial settings like the French Quarter or Plaza San Marco. I strive to capture the texture of the cities' largely unseen back streets. Both cities also have world-renowned contemporary art competitions: the Venice Biennale and the triennial Prospect New Orleans. Works from my Venice series were exhibited alongside photographs from Mexico City in 2016 at the Contemporary Art Center, New Orleans, in Experiments in Anarchitecture, curated by Andrea Andersson, and in 2017, works from the Venice series were included in Project 387, curated by Berty Skuber at the Archivio Emily Harvey in Venice. " -- Charles Muir Lovell
Cao Luning
China
1990
Cao Luning is a street photographer who lives in Nanjing, Jiangsu Province, China, a city of 8 million people. He only started to do photography 3 years ago and all learnt by himself. For Cao Luning, photography is a means of getting to know and expressing himself. Just like the saying "You are what you read", he also believes "You are what you shoot". He's extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate him. They are just similar to life, you never know what you are going to get tomorrow. You may capture some nice shots, or you might come back empty-handed. Street photographer is his identity. Cao Luning is a street wanderer and likes to watch people. He can linger on the streets all day long without feeling tired or fed up. When he shoots, he focuses on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. Cao Luning reckons framing is crucial to a good photograph, and he's been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which He thinks is something that every photographer should pay attention to. His mentors are Mangum Photographer Alex Webb and his wife Rebecca Norris Webb, and they both helped him a lot in developing his own vision. In his opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Statement I'm a street photographer who started to do photography 3 years ago. For me, photography is a means of getting to know and expressing myself. Just like the saying "You are what you read", I also believe "You are what you shoot". I'm extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate me. They are just similar to life, you never know what you are going to get tomorrow. You may capture many nice shots, or you might come back empty-handed. I'm a street wanderer and I like to watch people. I can linger on the streets all day long without feeling tired or fed up. When I shoot, I focus on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. I reckon framing is crucial to a good photograph, and I've been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which I think is something that every photographer should pay attention to. In my opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Most of the works I submitted were shot during the pandemic in China.. On January 2020, The New Coronavirus Pneumonia (or COVID-19) outbroke in Wuhan, Hubei Province in China and soon spread all over the country. As a result, the Chinese government locked down the whole country, stopped all production activities, restricted intercity transportation, and people were advised not to go outside. I live in Nanjing, Jiangsu Province, a city of 8 million people, and when it was shut down, it was a bit like a ghost town in the beginning, not completely empty, but hard to find people on the streets. However, I found out by the Yangtze River and some parks, there are some citizens. People would go fishing, do sports, exercise or simply relax. So I often go to those places with my camera, trying to capture their life under the influence of Coronavirus. The virus has pressed the pause button for most of us, though it's not a good thing, objectively speaking, it gives us a good opportunity to look inside and review our living states. It offers us a window to slow down and appreciate all the good and beautiful things around us as well. In the meantime, we are also given the possibility to do the things that we always wanted to do. We should cherish it and live in the moment, despite how dreadful the epidemic situation might be, life has to go on. I hope you'll enjoy my works and get to know me better by them.
Sid Grossman
United States
1913 | † 1955
Sid Grossman was an American photographer, teacher, and social activist. He was the younger son of Morris and Ethel Grossman. Grossman attended the City College of New York and worked on a WPA street crew. In 1934, he started what would become the Photo League with co-founder Sol Libsohn. Grossman played numerous roles throughout the Photo League's existence (1936–1951) including educator, administrator, reviewer, editor of Photo Notes and founder of Chelsea Document (1938-1940), an indictment of obsolete buildings and substandard living conditions in a New York neighborhood. He enlisted on March 6, 1943 and served in the Sixth Army in Panama during World War II. Grossman's 1940 photographs of labor union activity led to FBI investigations and the blacklisting of the Photo League as a communist front in 1947. In 1949, he opened a photography school in Provincetown, Massachusetts, although he continued to live and teach in NYC part of every year. Grossman was married twice: to Marion Hille and then to Miriam Grossman. Grossman conducted workshops at the Photo League, the Henry St. Settlement, the Harlem Art Center, and privately in NYC and Provincetown, for almost twenty years. The photographers he taught were many – including Lou Bernstein, Lisette Model, Walter Rosenblum, Louis Stettner, Helen Gee, Arthur Leipzig (who is on record as calling Grossman “probably the most fantastic teacher I ever knew”) and Leon Levinstein. Yet Grossman himself said, “I am not an instructor in any classical sense.” He insisted that his students take on the responsibility for making something of themselves. According to Jewish Museum curator Mason Klein, “Grossman increasingly insisted on the idea of being in the world in a particular manner, engaging with a certain consciousness as a photographer, and connecting to the camera in ways that made photographers question who they were.” One had to “live for photography,” in effect transforming and liberating oneself – in order to become a good photographer. One description of Grossman's “impassioned, often aggressive workshop critiques” has been provided by one of his students, N. Jay Jaffee, who studied with him in 1948. On the one hand, “He was almost contemptuous; each of us got a taste of his anger and hostility during the course.” Yet, “His genius was in expounding a philosophy of photography that was unique. I had never heard anyone speak on a subject with such depth and enthusiasm. I still recall a phrase he repeated several times: 'The world is a picture.' This simple statement was a profound insight into the method and meaning of photography.” “To Sid, photography was serious, not sacred.” Grossman's first wife, Marion Hille, remarked that he “encouraged his students 'to enjoy themselves right away, to get a feel of taking pictures without technique getting in the way.'” Jaffee reflected that, “Perhaps, if Sid had lived long enough, he would have also mellowed. Hopefully, he would have received the honor and respect for his brilliance and his work that he so justly deserves.” Today, almost all of the important photographers and educators he influenced and who continued his legacy are also deceased. All that is left are the photographs he and they made – a considerable contribution.Source: Wikipedia An influential teacher and activist, Grossman was a founding member of the Photo League, a group of socially-minded photographers that used documentary photography to call attention to poverty and injustice in New York. Showing three ragtag kids, two of whom present their modest toys to the photographer, this image exemplifies Grossman’s humanistic artistic vision, which often testified to the endurance and survival of his subjects. Due to his participation in the Communist Party, the U.S. Government blacklisted Grossman and monitored his activities for several years.Source: The Met
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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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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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