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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Cardell Phillips
Cardell Phillips
Cardell Phillips

Cardell Phillips

Country: United States
Birth: 1952

I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing.

Statement
One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
 

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Bryan Adams
Canada
1959
Adams works as a photographer as well as musician, aside from being published in British Vogue, L'uomo Vogue, Harper's Bazaar, Esquire, Interview magazine and i-D, among others, he has also shot advertising campaigns for Guess Jeans, Sand, Converse, Montblanc, John Richmond, Fred Perry, and more recently for Escada. He has won Lead Awards twice in Germany for his fashion work, most recently June 2012 and previously in 2006. Other photographic endeavours include founding the art fashion Zoo Magazine, based in Berlin, Germany for which he shoots for regularly. His first book of photos will be released by Steidl in 2012 entitled Exposed. Previous published collaborations include; American Women June 2005, for Calvin Klein in the United States; proceeds from this book went to Memorial Sloan–Kettering Cancer Center in New York City for their breast cancer research for programs, and Made in Canada December 1999 for Flare Magazine in Canada; proceeds went to the Canadian Breast Cancer Foundation. Both books were dedicated to his friend Donna, who died of the disease. As a photographer, Adams has worked with many of his musical peers, including Lana Del Rey, The Who, Sting, Shania Twain, Mick Jagger, Arcade Fire, Ray Charles, Tina Turner, Rod Stewart, Robert Plant, Take That, Joss Stone, Plácido Domingo, Sarah McLachlan, Celine Dion, Billy Idol, Moby, Lindsay Lohan, Amy Winehouse, Annie Lennox, Peter Gabriel, Bryan Ferry, Lenny Kravitz, Die Antwoord, and Morrissey to name a few. On 27 November 2000 Adams played onstage with The Who at the Royal Albert Hall. A DVD of the concert was issued. Adams photographed the band and his photos appear in the DVD booklet. In 2002, Adams was invited, along with other photographers from the Commonwealth, to photograph Queen Elizabeth II during her Golden Jubilee; one of the photographs from this session was used as a Canadian postage stamp in 2004 and again in 2005 (see Queen Elizabeth II definitive stamp (Canada)), another portrait of both Queen Elizabeth II and Prince Philip is now in the National Portrait Gallery in London. Adams supports the Hear the World initiative as a photographer in its aim to raise global awareness for the topic of hearing and hearing loss. He photographed Michael J. Fox and Tatjana Patitz in the 2011 Carl Zeiss AG company calendar in New York City in the summer of 2010. The focus was about the size difference of the subjects in a comedic presentation. In 2011, Adams provided the cover art for Lioness: Hidden Treasures, a posthumous release by Amy Winehouse.Source: Wikipedia Rock Icon Bryan Adams' lifelong interest in photography turned into a vocation when he began shooting for fashion magazines and advertisers more than a decade ago. But it's not all models and celebrities: He most recently turned his lens on 40 British soldiers returning from Iraq and Afghanistan. His series Wounded: The Legacy of War, the subject of a 2013 book from Steidl and an exhibit at London’s Somerset House on display this month through Jan. 25, showcases the brutal (and all too common) injuries incurred in battle. "I didn't like the fact that people were getting so badly hurt, so many people were killed, were displaced, forgotten. This is my statement," says Adams, 55. On the legacy of the images, he says, "I hope [people] realize that these guys made an incredible sacrifice. War is disgusting and this is the result of what happens when we decide to beat each other up."Source: Billboard
Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Sheila Metzner
United States
1939
Sheila Metzner (born 1939) is an American photographer. She was the first female photographer to collaborate with the Vogue magazine on an ongoing basis. Metzner lives in Brooklyn, New York. Metzner graduated from the Higher School of Art and Design and the Faculty of Visual Communications of the Pratt Institute. After that, she was engaged in promotional activities. In the 1960s, she became the first woman to be promoted to art director by Doyle Dane Bernbach, an advertising agency. Thanks to this, she successfully collaborated with well-known photographers, including Richard Avedon, Melvin Sokolsky, Bob Richardson and Diane Arbus. Inspired by the work of 19th-century English photographer Julia Margaret Cameron, who painted pictures of her family, Metzner photographed her husband, artist Jeffrey Metzner, and her children. In the first 10 years, she shot only her family without publishing photos. Her first show in New York was called Friends & Family. She decided to show part of the images to the director of the Museum of Modern Art in New York, John Sarkovsky. In 1978, he bought one and included in MoMA exhibition Mirrors and Windows: American Photography Since 1960. A second exhibition – Photography (Spring 1981): Couches, Diamonds and Pie – took place there. After that, The New York Times and The Sunday Times published a photograph of Sheila's husband. In 2008 the School of Visual Arts presented the exhibition Time Line: Shelia Metzner at the Visual Arts Museum, New York. Sheila Metzner lives in New York. She was married to the artist Jeffrey Metzner, with whom she had seven children.Source: Wikipedia Sheila Metzner's unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Born in Brooklyn, she attended Pratt Institute, where she majored in Visual Communications, and was then hired by Doyle Dane Bernbach advertising agency as its first female art director. She took pictures all the while, amassing them slowly over the next thirteen years, while raising five children. One of these photographs was included in a famous and controversial exhibition at the Museum of Modern Art - Mirrors and Windows: American Photography since 1960 - and became the dark horse hit of the exhibition. Gallery shows and commercial clients soon followed. Her first commercial client was Valentino, followed by Elizabeth Arden, Perry Ellis, Shiseido, Fendi, Saks Fifth Avenue, Paloma Picasso, Victoria's Secret, Revlon, and in recent years Levi's, Ralph Lauren, Club Monaco, Bergdorf Goodman and Neiman Marcus. Sheila's fine art photographs are featured in the collections of The Metropolitan Museum of Art, The Museum of Modern Art, The J. Paul Getty Museum, The International Center of Photography, The Brooklyn Museum, The Museum of Fine Arts, Houston, The Chrysler Museum, The Art Institute of Chicago, Agfa and Polaroid Corporations, Saks Fifth Avenue, as well as many personal collections. She has published five monographs: Objects of Desire, which won the American Society of Magazine Photographers Ansel Adams Award for Book Photography; Sheila Metzner's Color; Inherit the Earth, a collection of landscapes shot during her travels, Form and Fashion, a collection of images culled from twenty years of her work in fine-art and fashion, and Sheila Metzner: From Life in 2017.Source: sheilametzner.com
Astrid Reischwitz
Astrid Reischwitz is a lens-based artist whose work explores storytelling from a personal perspective. Using keepsakes from family life, old photographs, and storytelling strategies, she builds a visual world of memory, identity, place, and home. Her current focus is the exploration of personal and collective memory influenced by her upbringing in Germany. Reischwitz has exhibited at national and international museums and galleries including Newport Art Museum, Griffin Museum of Photography, Danforth Art Museum, Photographic Resource Center, The Center for Fine Art Photography (CO), Rhode Island Center for Photographic Arts, Center for Photographic Art (CA), FotoNostrum, and Gallery Kayafas. She was a Top 50 photographer at Photolucida's Critical Mass in 2020, 2019 and 2016, and a Finalist for the 2017 Lens Culture Exposure Awards. She is the recipient of the Griffin Award 2020 and was awarded solo exhibitions at Soho Photo Gallery and The Center for Fine Art Photography. Reischwitz is a Category Winner at the 14th and 15th Julia Margaret Cameron Award for Women Photographers and at the 14th and 15th Pollux Awards. Honors also include Gold and Silver Medal Awards, a Portfolio Award and the Daylight Multimedia Award at the San Francisco International Photo Show. Her work was featured in Fraction Magazine, Lenscratch, LensCulture, What Will You Rembember?, Wired Japan, Il Post Italy, P3 Portugal, Aint-Bad Magazine, The Boston Globe, NRC Handelsblad Amsterdam, as well as other media outlets. Reischwitz is a graduate of the Technical University Braunschweig, Germany, with a PhD in Chemistry. Spin Club Tapestry An exploration of memory I grew up in a small farming village in Northern Germany. A village that is bound to its history and that stands out through its traditions even today. Long ago, village women met regularly in "Spinneklumps" (Spin Clubs) to spin wool, embroider, and stitch fabrics for their homes. I imagine their conversations as they worked, the beautiful stories that lifted their spirits, as well as the stories of sadness, sorrow and loss. In modern times, village women continued to meet in this tradition, but shared stories over coffee and cake instead of needlework. These close-knit groups of women often stayed together until their death. In this series, my composite images take the form of tapestries, combining images of embroidered Spin Club fabrics with new and old photographs from the village. I connect the present and the past by recreating and re-imagining pieces of the embroidery. Spin Club tablecloths, napkins and wall hangings (some dating back to 1799) have been passed down from generation to generation. By following the stitches in these fabrics, I follow a path through the lives of my ancestors - their layout of a perfect pattern and the mistakes they made. Along the way, I add my own mistakes. The fabrics also reveal the passage of time, stained and distorted after sometimes decades of use. The patterns I have stitched myself into the paper are only abstractions of the original Spin Club designs, fragments of memory. After all, memory is fleeting, and changed forever in the act of recollection. Sometimes the stitching is incomplete, creating an invitation for future generations. Every decision we make is influenced by our history, our environment, and the society we live in. The tapestry of my life belongs to me but is stitched through with the beauty and heartache of past generations. Discover the Spin Club Tapestry Solo Exhibition
Eric Kunsman
United States
1975
Eric T. Kunsman (b. 1975) was born and raised in Bethlehem, Pennsylvania. While in high school, he was heavily influenced by the death of the steel industry and its place in American history. The exposure to the work of Walker Evans during this time hooked Eric onto photography. Eric had the privilege to study under Lou Draper, who became Eric’s most formative mentor. He credits Lou with influencing his approach as an educator, photographer, and contributing human being. Eric holds his MFA in Book Arts/Printmaking from The University of the Arts in Philadelphia and holds an MS in Electronic Publishing/Graphic Arts Media, BS in Biomedical Photography, BFA in Fine Art photography, all from the Rochester Institute of Technology in Rochester, New York. Currently, he is a photographer and book artist based out of Rochester, New York. Eric works at the Rochester Institute of Technology (RIT) as an Assistant Professor in the Visual Communications Studies Department at the National Technical Institute for the Deaf and is an adjunct professor for the School of Photographic Arts & Sciences. In addition to lectures, he provides workshops on topics including his artistic practice, digital printing, and digital workflow processes. He provided industry seminars for the highly regarded Printing Applications Lab at RIT. His photographs and books are exhibited internationally and are in several collections. He currently owns Booksmart Studio, which is a fine art digital printing studio specializing in numerous techniques and services for photographers and book artists on a collaborative basis. Eric’s work has been exhibited in over 35 solo exhibitions at such venues as Nicolaysen Art Museum, Hoyt Institute of Fine Art, Los Angeles Center for Digital Art, and numerous university galleries. His work has also been a part of over 150 group exhibitions over the past four years, including exhibitions at the Center for Photography, A. Smith Gallery, SPIVA, San Luis Obispo Museum of Art, Spartanburg Museum of Art, Atlanta Photography Group, CEPA Gallery, Site: Brooklyn, Colorado Photographic Arts Center, Philadelphia Photo Arts Center, and many more. Eric was named one of 10 B&W photographers to watch of 2018 by BWGallerist; B&W Best Photographers of the Year 2019 by Dodho Magazine; won the Association of Photography (UK) Gold Award for Open Series in 2019; Finalist, Top 200 Critical Mass 2019, 2020, 2021; Top 15 Photographers for the Rust Belt Biennial; and Lensculture B&W Jurors’ Pick 2021. His Project Felicific Calculus was also awarded a Warhol Foundations Grant through CEPA Gallery in Buffalo, NY. Eric’s work has also been published in magazines such as; Bloomberg Businessweek, LensWork, Dodho, B&W Photography, Analog Explorations, All About Photo, Black+White Photography (UK), Dek Unu, along with online articles by Analog Forever Magazine, Catalyst: Interview, Texas Photo Society, and others. There's no “given,” formula for what demands Eric’s focus as a photographer. Eric is as drawn to the landscapes and neglected towns of the American southwest as he is to the tensions of struggling rustbelt cities in the U.S. northeast. Eric is attracted to objects left behind, especially those that hint at a unique human narrative, a story waiting to be told. Eric’s current work explores one of those relics: working payphones hidden in plain sight throughout the neighborhood near his studio in Rochester, NY. Associates suggested they signified a high crime area. This project's shown Eric something very different. Felicific Calculus: Technology as a Social Marker of Class, Race, & Economics in Rochester, NY The felicific calculus is an algorithm formulated by jurist and reformer Jeremy Bentham (1748-1832) for calculating the moral rightness of an action by balancing the probable pleasures and pains that it would produce. Bentham, a utilitarian philosopher, believed this calculus could, in principle, help determine the moral status of any considered act. In 2017, I relocated my studio to a different part of Rochester, NY. Colleagues immediately started making comments along the lines of: "...that area's a war zone." My experience with the new neighborhood was positive, so I wanted to discover what visual cues others might be seeing as indicators of a dangerous environment. Several people had mentioned the number of payphones in the area, inferring that only criminals use payphones these days. There really were a lot of payphones in my neighborhood. I began documenting them, and quickly saw that far from being used by criminals, these phones served as a lifeline for some of the poorest residents in the area. Looking deeper, I found the story behind Rochester's payphones reflected an unusually altruistic ‘felicific calculus' by Frontier Communications. Instead of focusing on profits, they had decided to maintain the payphones in poorer neighborhoods for the good of the community. Many policymakers have opted to view payphones as a social indicator of crime, unfortunately leading to ignorant or even dangerous decisions. In Detroit, Michigan, politicians had all public payphones removed without studying or surveying their actual use.They simply assumed the criminal connection. This decision was based on a further assumption that everyone today must own a mobile phone. Decision-makers lacking facts or any real understanding of issues facing citizens from a different economic class just acted on a misperception. Witnessing that type of reflexive judgement from my colleagues drove me to educate myself. I photographed payphones and mapped their locations, then overlaid them with census maps showing economic status, ethnicity, age and sex, and the city crime map. There was an immediate, direct correlation between the poverty level and location of the payphones. Areas with the most payphones coincided with Rochester neighborhoods where the average family incomes are lower than $20,000 annually. There was also no correlation with high crime neighborhoods. Through Felicific Calculus I hope to challenge negative perceptions of social markers that conflate poverty with crime. Though they are relics to most of us, payphones remain important for residents trapped in lower economic circumstances. Life-Lines Throughout the United States This body of work is a series in conjunction with my project “Felicific Calculus: Technology as a Social Marker of Race, Class, & Economics in Rochester, NY,” to demonstrate how many cities throughout the US are facing the same situation. Many individuals are being left behind by technology or labeled throughout the United States due to relying on outdated technology. This series is meant to support the Rochester, NY, project to demonstrate what is occurring in the United States. “Life-Lines Throughout the United States” is a topographic survey of payphones as social markers throughout the United States, along with interactive census data to help visualize the socioeconomic relationship between the individual photograph and each location.
Emily M Watson
United States
1951
''Travel is like a date with my soul; it reveals my inner self, as I absorb the outer world'' Emily M. Wilson Emily Marie Wilson is a Pacific Northwest native, living in Seattle, WA USA and an experienced world traveller with a special love of things culturally interesting to photograph. She absorbs and reflects on the places she visits, turning her camera to capture both people and details which are of unique cultural and ethnic importance. Emily has expanded her passion for both photography and travel over the years by leading small group cultural and photographic journeys to remarkable and edgy locations in the world. Emily, additionally, is an award-winning photographer with local, regional, national and international recognition. Emily Marie Wilson is further, greatly diversified in her own background experiences. She additionally has earned several university degrees in Political Science, Middle East Languages & Culture and Comparative Religions of the World. In 2007, Emily authored: From Boats to Boards Feet: The Wilson Family of the Pacific Coast, a comprehensive, handsomely illustrated 464-page book detailing the Wilson family (Swedish immigrants from Bohuslan who settled in Rainier Oregon, building a highly successful saw-mill business) and its worldwide business enterprises centered along the American Pacific Coast in the 1800s. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years, she has a diverse range of experience working with world-wide travel operators. Statement Emily M. Wilson is a Seattle native, an award-winning photographer, and world traveler. She absorbs and reflects the places she visits, turning her camera to people and details unique to each culture. Emily is greatly diversified in her own travel expertise. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years. She combines her passion for both photography and travel by leading small group cultural journeys to all parts of the world.
Patrick Wack
France
1979
Patrick Wack was born in Cannes in 1979 and grew up in the Paris suburbs. A former top sportsman, he has a degree in foreign languages and a diploma from the Ecole Supérieure de Commerce de Paris. His studies took him to the United States, Sweden and Germany. A self-taught photographer, he left Berlin in 2006 for China with the ambition of documenting its emergence, and the hope of living a life off the beaten track. He was based in Shanghai for eleven years as a freelance photographer alternating between commissions for the international press and institutional clients. He also worked on long-term documentary projects on themes important to the understanding of our times. These include urban change and forced modernisation in China, the Tibetan question, inter-ethnic tensions in the Balkans and the 'pioneering front' of the New Silk Road in its aesthetic, social and political dimensions. After eleven years in China, he now divides his time between Europe, China and Russia. His reports have been published in Time magazine, The Sunday Times, Géo, The British Journal of Photography and Courrier International, among others. He is one of the co-founders of the photographic cooperative Inland. DUST Dust, a monographic book by photographer Patrick Wack on the Uyghur communities. The monograph DUST gathers four years of work by French photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration. In recent years, the region has been at the centre of an international outcry following the mass-incarceration of its Uyghur population and other Muslim minorities. This body of work captures a visual narrative of the region and is a testimony to its abrupt descent into an Orwellian dystopia. In 2016 and 2017, Wack spent more than two months in Xinjiang photographing Out West, his first long-term project about the region. He decided to return in 2018, upon reading reports of the mass arbitrary detention system being set up there. In 2019, he travelled to Xinjiang on two separate occasions for another project, The Night Is Thick. This second reportage aimed at documenting life under acute repression among the Uyghur minority alongside the disturbing simultaneous increase of Han-Chinese tourism in the region. These images have been widely published and exhibited over the past four years, illustrating the situation in the region, and have received numerous accolades. Recent events in Xinjiang are now considered some of the most severe crimes against humanity currently unfolding in the world and this project is possibly the most complete photographic documentation of the region in recent years. Find out more about DUST
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AAP Magazine #57 Portrait
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Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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.
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.
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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