All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
Guillermo Espinosa
Guillermo Espinosa
Guillermo Espinosa

Guillermo Espinosa

Country: Spain
Birth: 1985

Guillermo Espinosa is a Spanish photographer born in Madrid in 1985 and currently based in Berlin. He studied Graphic arts and wine making in Madrid. He started in photography around 7 years ago, making pictures in the streets of Madrid with an old reflex camera. Later on he moved to Germany to work as a waiter. It was then when he saw the potential of street photography as a way to grow personally and escape from the routine. Since then he has combined his job as a waiter with some jobs related to photography such as Cruiseship photographer or photographer for a german decoration shop. He is currently involved in a few ongoing street photography projects in the city of Berlin.

Statement
My artwork is about the relation between the human being and the public enviroment, searching for the insual in the usual or mundane. Trying to find candid moments in the dalily life using what the enviroment gives me, such a light, subjects, geometry, etc. Another distinguising feature is the friction created by the layers (physical or conceptual). I have been always attracted by the contrasts that happen in everyday life, the juxtaposition in any "normal" situation that can create many humoristic, visual or critic lectures. Even a frontal shot of a character on the street can be read in many different ways depending on the viewer, place or epoque. My main aproach is to create a connection with the viewer that can go beyond the aesthetics, making an image more than a 2D object that comfrontes the previous concept of the daily life
 

Inspiring Portfolios

Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Vlad Kutsey
Ukraine
1987
Vlad Kutsey is a self taught freelance photographer from Kyiv, Ukraine, who has dedicated the last 10 years to his greatest inspiration - expedition & adventure photography. He has found his personal treasure slightly outside the comfort zone in the tropical jungles or somewhere at several thousands meters above sea level where the lack of oxygen slowly reminds that you're just a guest of the harsh Mountain:) His deep passion of capturing life through camera lens has driven him to develop many important skills (rock climbing, backpacking, wild camping in extreme conditions, surviving in the jungle environment and on the remote uninhabited islands) that have motivated him to reach and explore untouchable and pristine places around the world. Vlad's work has appeared in dozens of publications of the world's famous companies, brands and magazines in print and online including National Geographic, Nat Geo Traveler, Canon, GoPro, The North Face, Garmin, The Village, Daily Mail and elsewhere. He also has won several national and international photography awards for his work. Vlad's passion has lead him to reach out and tell his stories through social media, blogging, video that follow his work to teach and inspire through workshops and social media meetups. Vlad is an official GoPro, Osprey, Garmin, ЇDLO and Turbat Brand-Ambassador in Ukraine He spends the vast majority of his time in expeditions around the globe with his wife Alona; they have co-founded and lead own travel community "Adventure Monsters" that specializes in unique off the beaten track adventures to the most remote spots of our planet including researching the culture of the world's most isolated tribes.
Gueorgui Pinkhassov
France / Russia
1953
Gueorgui Pinkhassov is a photographer, born in Moscow in 1953. He is a member of Magnum Photos. Pinkhassov began his interest in photography in his teens, and enrolled at the Moscow Institute of Cinematography (VGIK) in 1969. Following college and two years in the army, he joined the film crew at Mosfilm. Continuing his interest in still photography he became a set photographer at the studio. His work was noticed by the film director Andrei Tarkovsky, who invited Pinkhassov to work on the set of his film Stalker. Being awarded independent artist status by the Moscow Union of Graphic Arts in 1978 allowed Pinkhassov far more freedom to travel, allowing him to exhibit his work internationally. In 1979 his work was noticed outside of Russia for the first time, in a group exhibition of Soviet photographers held in Paris. Previously, his work had mainly been seen in a number of Russian magazines, including L'artiste Sovietique. His acceptance by the Magnum Photos agency in 1988 opened up his work to a wider audience. He worked for the international media covering major events in Lithuania, Mongolia, Indonesia, and Africa. Returning to Moscow to cover the 1991 Coup, for the New York Times. In 1995, he received a photographic scholarship from the city, and in 1998, he published the book Sightwalk, photographs of Japan. Pinkhassov is now a French citizen, living in Paris.Source: Wikipedia Gueorgui Pinkhassov is known for his vivid art-reportage, which elevates the everyday to the extraordinary. His richly-colored images are absorbing, complex and poetic—sometimes bordering on an abstraction which embraces the visual complexity of contemporary life. As well as his global documentary work, Pinkhassov has photographed iconic cultural events from Cannes Film Festival to backstage at Paris Fashion Week. “It is foolish to change the vector of chaos. You shouldn’t try to control it, but fall into it” he says of his approach. Born in Moscow in 1952, Pinkhassov’s interest in photography began while he was still at school. After studying cinematography at the VGIK (The Moscow Institute of Cinematography), he went on to work at the Mosfilm studio as a cameraman and then as an on-set photographer. He joined the Moscow Union of Graphic Artists in 1978, which allowed him more freedom to travel and exhibit internationally. His work was soon noticed by the prominent Russian filmmaker Andrei Tarkovsky, who invited him to make a reportage about his film Stalker (1979). Recent work includes his study of Blackpool Illuminations in 2018, an ongoing series of city portraits illuminating places as varied as Beirut, Lisbon, Venice, Moscow and Nancy, and his coverage of the clashes between Anti-government protesters and police in the Ukrainian capital, Kyiv in 2014. Today, he works regularly for the international press, particularly for Geo, Actuel and The New York Times Magazine. He joined Magnum Photos in 1988.Source: Magnum Photos
Susi Belianska
Slovakia/Italy
1980
Susi Belianska is a photographer and artist with a passion for capturing visual stories, particularly through the art of portrait photography. Her fascination with the intricate details of the human face, the play of light and shadow that accentuates its contours, and the emotions it conveys drives her to create compelling and evocative portraits that tell unique narratives. With a background in the fashion industry, she transitioned into full-time photography in 2007, capturing diverse campaigns and catalogues for national and international brands. Her work has been featured in prominhotent publications like Condè Nast - Vogue Italia, GQ, Financial Times, Vrij Magazine, L’Officiel, D Repubblica, among others. She develops as well her personal projects within fine art. In 2013 she won the Nikon Talent Photo Contest presented and exhibited during the international contemporary art Artissima fair In 2012 she was in shortlist of the Sony World Photography Awards in fashion category. She actively participates in renowned photography festivals, including the Ancona Photo Festival 2021 and Grenze Photo Festival Verona 2022. Das Unheimliche: Das Unheimliche is a photographic project that explores the intersection between the human being and the artificial and invites us to reflect on the complex dynamics and emotional dilemmas that arise when confronted with the possibility that a man-made work can replace a living being. The photographs depict girls representing dolls, thus embodying the idea of the artificial figure hidden behind a human appearance. Each portrait captures the ambivalence of experience in front of these hybrid figures, who seem alive but lack genuine vitality. The expressions on the girls' faces convey a combination of fascination, unease and disquiet, inviting viewers to question the meaning and implications of this substitution. The idea that artificial creations can replace a person has ancient roots and can be traced across different cultures and historical periods. A significant example dates back to ancient Greece, where stories and myths have been documented involving statues or artifacts that come to life. Among these narratives, the myth of Pygmalion stands out, a famous sculptor who fell in love with his own creation: a statue of a woman. Through divine intervention, the statue came to life, highlighting the ability of artificial figures to enchant and involve human affections. Over the centuries, the idea of replacing an individual with an artificial figure has been explored in different forms of artistic expression such as in the film "Die Pupe" by Ernst Lubitsch or the short story "Sandman" by E.T.A. Hoffmann. In Lubitsch's film ,a shy young man decides to marry a mechanical doll to avoid a traditional marriage while in Hoffmann's story, a man becomes obsessed with a female automaton believing it to be alive.These works reflect on the tensions between desire, fear and the challenge of defining what is truly human. With the advent of modern technologies and artificial intelligence, the discussion around the possibility of replacing a human being has taken on a new meaning and relevance. Modern lifelike dolls and artificial intelligence interfaces, such as advanced chatbots, have become subjects of ethical and social debate. These creations raise profound questions about the nature of human relationships, affection and emotional connection, questioning our perceptions of what is authentic and genuine. Exploring the boundary between the human and the artificial has profound implications on a psychological level as well, as what approaches a living being but lacks vitality or completeness can elicit complex emotional reactions. Sigmund Freud's "Das Unheimliche" theory and Masahiro Mori's "Uncanny valley" hypothesis offer perceptive insight into these challenges and ambiguities. According to Freud's "Das Unheimliche" theory, the experience of what is familiar yet strange and disturbing can trigger a variety of psychological reactions, such as disgust or fear. When we are faced with artificial figures that resemble human appearance but without being alive, a feeling of unease can arise that challenges our understanding of what is considered authentic and genuine. Mori's "Uncanny Valley" hypothesis focuses on the concept of an emotional curve that describes our psychological responses based on the level of similarity of an artificial figure to human appearance. The project aims to capture the essence of these reflections, highlighting the contradictions and tensions that emerge. The girls portrayed represent a fascinating duality: on the one hand, they seem to reflect the dolls' ideal of perfection and control, with their delicate features and impeccable poses; on the other, they convey a feeling of foreboding and dissonance, which underlines the lack of authenticity and vitality. Each photograph is intended as an invocation of the need for a deeper connection with our own humanity and the complex emotional dynamics that emerge when we are faced with an artificial creature that seeks to emulate human affection and vitality. The project challenges us to investigate the meaning of humanity and our ability to deal with the complexities of affection, intimacy and replacement in an age characterized by rapid technological advances. It prompts us to explore our relationship to artifice and to deepen our understanding of ourselves. Stars: he focus of this project is to elevate women to a central place in the universe, symbolizing their importance, and to emphasize the need for equal treatment in social and occupational settings. The project features surreal images of women situated in an infinite cosmos surrounded by stars, emphasizing the timeless relevance of the message.The women depicted are captured without clothing to avoid association with any particular historical period, as passing time has no bearing in this context. The stars radiate upon their bodies, symbolizing the brilliance that women should exude in today's contemporary society. This project aims to celebrate those women who break the mold and call for questioning of stereotypes in a society often dominated by male culture. It highlights the strength and resilience of women who have defied non gender equal societal norms.Additionally, the project seeks to ignite discussions and raise awareness about gender inequality, addressing not only men but also women who may unknowingly undervalue their own worth, urging individuals to recognize and appreciate their own intrinsic value.
Astrid Verhoef
Netherlands
Astrid Verhoef is a fine art photographer based in Amsterdam. She graduated from the Arts Academy “Hoogeschool voor de Beeldende Kunsten Utrecht” in 1998. Astrid started as a classic landscape photographer, inspired by photographers like Ansel Adams, but gradually felt the need to express herself differently, in a manner that more reflected her imagination and creativity. She started building a new portfolio around 2007, and by 2010 she had fully adopted the theatrical visual language we can recognise in her photography today. Her work can since be defined as surreal compositions, showing figures and objects that seem to be at odds with the desolate environments they find themselves in. Astrid aims to emphasize the contrast between the human presence and the landscape, while exploring her personal relationship with the natural world. Throughout her career Astrid also worked as a curator, and has produced exhibitions in New York, Amsterdam, Leiden and Tokyo. She’s collaborated with Photoville New York and was a program manager and curator for photography platform Photo31 from 2018 until 2024. But her main focus will always be her autonomous artwork which leads her to magnificent landscapes, from The Netherlands and Spain to Australia and the USA, to explore her personal relationship with the natural world. Astrid usually works solo and therefore is also the model in most of her images. If needed she uses basic collage techniques in her artworks top achieve the desired image, but she never adds any components by using AI. The props and figures are all actually photographed, which makes every artwork a cherished memory as well. Astrid’s artworks have been internationally awarded, and have been exhibited in London, Amsterdam, Los Angeles, Berlin, Cannes, Milan, New York, Paris, Rotterdam, Sydney, and Tokyo. Her artwork is included in the collection of the Société Nationale des Beaux Arts in Paris. Statement: As a fine art photographer Astrid Verhoef explores her personal connection to the natural world. The complicated relationship between human and nature is a common thread throughout her work, from the ‘Inscapes’ and ‘Human//Nature’ series up to the more recent single images. When she photographs herself in these desolate landscapes an anonymous character arises that wants to connect with her surroundings. However, her roots in contemporary modern life often remain visible in the form of an unnatural element. The serene images can be seen as emotional translations where the desire for synergy is challenged by an urge to control. The long-term project 'Human//Nature' is a logical continuation of Verhoef’s well known 'Inscapes' series. With an increasing minimal visual language and a more geometrical approach to composition, she aims to emphasize the contrast between the human presence and the natural. With her latest work, At the same time she wants to create moments or scenes that can only exist because of the combination of the two. Her theatrical photography is also an ode to imagination itself. For these images Astrid Verhoef works solo on location, all elements are photographed and she acts as a model in her own images. These images do not contain any AI generated components. Only basic Photoshop tools were used, such as color /contrast adjustments, collage technique (if needed). Astrid Verhoef has photographed on locations in Australia (Northern Territory, Southern & West Australia), Spain (mainland & Canary Islands), USA (Utah, Nevada, Arizona & California) and The Netherlands.
Lauren Semivan
United States
1981
Lauren Semivan (b. 1981) was born in Detroit, Michigan. She received a BA in studio art from Lawrence University in Appleton, Wisconsin, and an MFA in photography from Cranbrook Academy of Art. Her work has been exhibited at the Nelson Atkins Museum of Art, Detroit Center for Contemporary Photography, The Griffin Museum of Photography, The Hunterdon Art Museum, Cranbrook Art Museum, Paris Photo, and The AIPAD Photography Show among others. She has taught photography at College for Creative Studies, The Ohio State University, Virginia Commonwealth University, and Wayne State University. Semivan has received numerous awards for her work including Photolucida Critical Mass Top 50, and The Griffin Museum of Photography’s Griffin Award. In 2014, she was a finalist for The John Gutmann Photography Fellowship, and SF Camerawork’s Baum Award for Emerging Photographers. Her work was recently published in Series of Dreams (Skeleton Key Press, 2018) and has appeared in The New Yorker, Artforum, Harper's Magazine, Interview Magazine, The Village Voice, and Photograph magazine. Semivan’s work is part of permanent collections at the Nelson Atkins Museum of Art, Cranbrook Art Museum, The Wriston Art Galleries at Lawrence University, and The Elton John Photography Collection. She lives in Appleton, WI and is represented by Benrubi Gallery in New York, and David Klein Gallery in Detroit, Michigan. Artist Statement "The staged photograph exists as a document of a pre-conceived, imagined event. It can be compared to a scientific apparatus, utilizing both control and the unknown. My ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. In scientific disciplines, a line is classified as an event. Something as primitive as a scrawl on a surface reveals an aggregate of events, intersecting and changing course. Drawings made on the seamless backdrop describe an emotional space. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. My interest in photography is interdisciplinary and synergistic, informed by the written word, painting, drawing, sculpture, and the raw material of human experience. All images are made using an early 20th century 8x10" view camera. Large format negatives are scanned and printed without digital manipulation in editions of 5 (40"x50") and 10 (24"x30")."Source: www.laurensemivan.com Her ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. "Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds". Semivan’s work resides in the collections of the Nelson Atkins Museum, Cranbrook Art Museum, and the Wriston Art Center at Lawrence University, and has been featured in Wall Street International Magazine, the New Yorker, Artforum, and Photograph magazine.Source: Benrubi Gallery
Joanna Madloch
Poland/United States
1969
Joanna Madloch was born in Poland and moved to the United States in her thirties. A professor of literature, twenty years ago she dedicated herself to photography. She combines her interests in mythology, literature, and photography through writing a book about the photographer as an archetypal trickster. Artist Statement "I grew up in Soviet-occupied Poland. Among numerous restrictions imposed by the autocratic government on its citizens, the one I remember most vividly is an image depicting a crossed-out camera. There were “No Photography” signs on railroad crossings, on the gate to the factory where my parents worked, even near my school. I always wondered what kind of power the little machine possessed that it made the seemingly omnipotent authorities so afraid. I got my answers when I first looked through the viewfinder of a little Smena (appropriately, the name of this camera means ‘the change’). The world observed through the tiny frame appeared different -- more real and magical at the same time. Straight away, I got hooked. While for a long time it was impossible for me to own a camera, I practiced mental photography by framing the world with my hands. Now, with my camera in hand, I see myself as a flaneur with a superpower. Like a mythological trickster, I balance between different worlds, uncover visual association, and construct semantic links. My little Leica contains a portal to alternate realities. When the aperture opens, the gates between realities unlock, the boundaries get obscured, and the time/space continuum becomes irrelevant. By releasing the shutter, I catch the pictorial manifestations of these phenomena. My photographs pay homage to our grounding in primeval stories and our connection to the collective mythical past. I photograph everyday streets, but my images reveal the multiplicity of meanings embedded in our visible reality. "
Advertisement
AAP Magazine #57 Portrait
Win a Solo Exhibition in June
AAP Magazine #57 Portrait

Latest Interviews

Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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.
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.
Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes