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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Taisuke Sato
Taisuke Sato
Taisuke Sato

Taisuke Sato

Country: Japan
Birth: 1969

Taisuke was born in Nagoya, Japan in 1969.
After graduating from the Department of Sociology at Ritsumeikan University, Kyoto, Japan, he worked in housing sales and management for a major Japanese housing company. When he turned 50, he chose to spend his life exploring arts, photography and its philosophy, then turned to be a photographer.
He takes pictures in the style of street photography. They have some feelings, lonely, surreal, and humorous. He also has a unique sensitivity to the distance between society and people, and the perspective from which he views them. This is because when he was a boy, he moved every three years due to his father's job transfer.
As a result, he learned how to blend in quickly and get along with the existing community by observing closely and understanding the distance and atmosphere between people. This is because in Japan's collectivist and relationship-oriented society, it is difficult to join an existing group.
In addition, the fact that he himself is an existence that "Appears one day and disappears the next" has given him a subjective and objective perspective and thinking, but even so, in Japanese society dominated by the exclusivity of the community and "the Atmosphere of the place", his identity without a hometown or geographical ties is very uncertain and unstable.
For this reason, his works are photographed with a unique sensibility, and their atmosphere reflects his worldview.
His main theme is the relationship between himself, people, and society. In his work, he presents a methodology that takes a multifaceted view of human life and society and transforms it into a "Acceptance of impermanence".
And more, he has deep insights into social behavioral psychology, social science, mental health, social class, Japanese organizational philosophies, housing and family, which are largely reflected in his work.
 

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More Great Photographers To Discover

Matt Wilson
United Kingdom
1969
Matt Wilson’s current body of work is part of an ongoing project, based upon a collection of transient observations, the landscapes of every day life and the people that call those landscapes home. It delves into the artist’s own history, his formative and current years within his home landscape and in the city he now resides and also, those of distant landscapes both literally and metaphorically he has traveled. A subtle, visually rich character study of what makes us who we are and the places we all inhabit and journey to, a chance to observe those looking outward whilst reflectively an opportunity to gaze inward.Source: Susan Inglett Gallery Matt Wilson photographed everywhere in Europe, starting with his native England, but also in France, with which it has its affinities, without omitting the Eastern countries where he still returns frequently between two stays Cuba. More recently, he ended his desire browse new territory: the United States where he lived for ten years. He could be afraid to touch this history, both American photographers are already loaded beautifully. But again, it gives us an amazing vision that reveals by snapshots of landscapes and men burnt by the sun that eventually, anyway, by lying down on this vast landscape to create ineffable moments that we may be fooling yourself and see it in watercolor. Then we could call this work “pictorial metaphor” even if the drift purely pictorial characters Matt Wilson were not so rooted in their time and in their daily lives, although sometimes needy. Because somewhere, if Matt Wilson gives us what he sees through a poetic prism, it is also a reporter and reflects our contemporary society by its subjects but often raw deals at tragic nor misery. His watchful eye is rather benevolent view borrowing a tragicomic light behind the full extent of a deeply humanistic thought.Source: mattwilsonphotography.com
Sabine Weiss
Switzerland
1924 | † 2021
Sabine Weiss was born in Switzerland in 1924. In 1942, she wonders what she will do with her life, and decides that she should become a photographer because it is what she loves to do. She is the daughter of a mother who showed her art galleries and Roman churches at a very young age, and of a researcher chemist father who loved to see her print her little photos with the resources available at the time. From 1942 until 1945 she was an apprentice at Boissonnas in Geneva, house of a dynasty of photographers that celebrated its 80th birthday. In 1945 Sabine Weiss moved to a studio in Geneva, but in 1946 she decided to leave the city of her childhood to live in Paris. She knew there was no turning back. She asked Willy Maywald to become her assistant. In 1949, she met the painter Hugh Weiss and realized right away that she would spend her life with him. Sabine Weiss left Maywald, where she mastered her craft and started a long career, experimenting fashion, photojournalism, advertising and everything else she was asked to do. During her free time, she liked to immortalize the depths of man in all simplicity. Her photographs moved Edward Steichen when preparing his major exhibition "The Family of Man" therefore he decided to present three of her images. In recent years, Sabine Weiss has dedicated her time to exhibitions that showcase the humanist side of her work because it meant a lot to her. Key dates 1924 July 23rd Birth at Gingolph in Switzerland, Naturalized French in 1995. 1942-45 Apprentice at Boissonas in Geneva 1945 Swiss diploma of photography 1946 Settles permanently in Paris 1946-50 Assistant of Willy Maywald 1950 Weds the American artist Hugh Weiss 1951 Works for several advertising agencies 1952-61 Contract with Vogue Magazine (Fashion and Assignments) 1952 Enters the Agency Rapho 1952 Free-lance for major magazines in the USA and in Europe like Paris Match, Life, Time, Newsweek, Town And Country, Fortune, Holiday, European Travel And Life, Esquire... covering countries in Europe, Africa, North America and Asia. Most recent exhibitions: 2014 Vannes, Festival de la Photo de Mer "Portugal, 1954" 2014 Zürich, Photobastei, Rétrospective 2014 Genève, Galerie Patrick Cramer, Portraits d’artistes (Giacometti et Miro) 2014 Salon de la Photo, Paris, Porte de Versailles, rétrospective « Chère Sabine » (Tribute to the photographer's 90th birthday) Decorations 1987 Chevalier des Arts et des Lettres (Knight of Arts and Letters) 1999 Officier des Arts et des Lettres (Officer of the Ordre des Arts et des Lettres) 2010 Ordre national du Mérite (French National Order of Merit) Discover Sabine Weiss' Interview
Angela Fisher
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked. Source: carolbeckwith-angelafisher.com
Sergey Prokudin-Gorsky
Russia
1863 | † 1944
Sergey Mikhaylovich Prokudin-Gorsky (Russian, August 30, 1863 Russian Empire – September 27, 1944) was a Russian chemist and photographer. He is best known for his pioneering work in color photography of early 20th-century Russia.Prokudin-Gorsky was born in the ancestral estate of Funikova Gora, in what is now Kirzhachsky District, Vladimir Oblast. His parents were of the Russian nobility, and the family had a long military history. They moved to Saint Petersburg, where Prokudin-Gorsky enrolled in Saint Petersburg State Institute of Technology to study chemistry under Dmitri Mendeleev. He also studied music and painting at the Imperial Academy of Arts. In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina. Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS). Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near Saint Petersburg and remained so until the October Revolution. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography. In 1901, he established a photography studio and laboratory in Saint Petersburg. In 1902, he traveled to Berlin and spent six weeks studying color sensitization and three-color photography with photochemistry professor Adolf Miethe, the most advanced practitioner in Germany at that time. Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise, and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the Fotograf-Liubitel. Lithograph print of Leo Tolstoy in front of Prokudin-Gorsky's camera in Yasnaya Polyana, 1908. Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of Leo Tolstoy,[6] which was reproduced in various publications, on postcards, and as larger prints for framing. The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian Grand Duke Michael Alexandrovich and Dowager Empress Maria Feodorovna in 1908, and to Tsar Nicholas II and his family in 1909. The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color.[8] In the course of ten years, he was to make a collection of 10,000 photos. Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution. He was appointed to a new professorship under the new regime, but he left the country in August 1918. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.Documentary of the Russian EmpireAround 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire. Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire around 1909 through 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Revolution. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population. It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material that seemed to be strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.By Prokudin-Gorsky's death, the tsar and his family had long since been executed during the Russian Revolution, and Communist rule had been established over what was once the Russian Empire. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3500–$5000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1902 negatives and 710 album prints without corresponding negatives in the collection.(Source: en.wikipedia.org)
Sandy Hill
United States
Sandy Hill grew up in a small town in Northeastern Ohio. The natural beauty as well as the rustic farms in the area provided the inspiration for her interest in photography. She earned a Bachelors degree in Photography at RIT before moving to Massachusetts where she was a freelance photographer for daily newspapers and a wire service in the greater Boston area. Her current work in portraiture has grown out of her interest in people and learning about different cultures as well as a general curiosity about others. She is also enjoying learning more about fine art photography and exploring that branch of her craft. Her photographs have been shown in multiple curated exhibits, two solo exhibitions and her news photos have been published in publications around the world. AMERICAN LAWN DÉCOR After a tumultuous year filled with isolation and conflict I decided to search for the innocence and optimism that I’ve always associated with our country, even as we hold different views, beliefs or backgrounds. I found signs of this in the joy of yards adorned with unique decorations. The many different perspectives on what constitutes beauty or humor continue to intrigue and draw me to a door to find out who lives or works there. Rarely have the residents turned down my request for a quick portrait, and they stand with dignity and pride, humor or mystery, near a fictional world created for us to enjoy. My intention was to avoid judgment. Rather I felt the need to search for a connection to people who share my country, and regardless of beliefs, views or background chose to celebrate life during a pandemic and beyond. This work was inspired by a desire to renew my own hopes and optimism for our country by looking beyond the headlines and finding a positive commonality. It is also my hope that these photographs can perhaps help us realize that we can find connections even during times that seem to be driving us apart.
Ren Hang
Chinese
1987 | † 2017
Ren Hang (Chinese: 任航; March 30, 1987 – February 24, 2017) was a Chinese photographer and poet. During Ren's incipient career, he was known mostly for nude photographic portraits of his friends. His work is significant for its representation of Chinese sexuality within a heavily censored society. For these erotic undertones, he was arrested by PRC authorities several times. He received the backing of the Chinese artist Ai Weiwei, who included Ren in his 2013 Netherlands show, Fuck Off 2 The Sequel, and curated the photographer's 2014 exhibition in Paris, France. Ren's erotic, playful and casual yet provocative expression gained him worldwide fame. Ren was born in 1987, in a suburb of Changchun, Jilin province, in northeastern China. In 2007, in order to relieve the boredom of studying advertising at college, he bought a point-and-shoot camera and began shooting his friends. As a self-taught photographer, he said his style of photography was inspired by the artist Shūji Terayama. Ren suffered from depression. He posted a series of diary entries titled My depression on his blog, recording the fear, anxiety and internal conflicts he experienced. Ren died by suicide on February 24, 2017 in Beijing. Ren Hang first began taking pictures of his roommates and friends in 2007, shooting them in the nude as all were close and seeking excitement. In an interview, he also admitted: “I usually shoot my friends, because strangers make me nervous.” He arranged his subjects' naked limbs in his photographs. Ren did not consider his work inappropriate: “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.” This may account for his reticence to limit his work to indoor settings. He said there were no preferred places for him to work, as he believed anywhere was beautiful and worthy to be shot, including sparse studios, parks forests, and atop buildings. Ren's photos employ nude groups and solo portraits of men and women often contorted into highly performative positions. For example, hands reach down milky thighs, a limp penis flops onto a watermelon and a series of backsides imitate a mountain range. Questioning the purpose of his work, he once stated that his creation was a way to seek fun for both photographer and the photographed. However, once he had reached fame on an international level, he began to think deeply about his work. The British Journal of Photography quoted him as once saying: "I don't want others having the impression that Chinese people are robots... Or they do have sexual genitals but always keep them as some secret treasures. I want to say that our cocks and pussies are not embarrassing at all." Ren also focused on marginalised people in Chinese society with gender identity disorders by 'indeterminating' sex and gender in some of his work: a group of naked bodies stacked together, men wearing silk stockings and wearing lipstick. He denied having a preference in models: “Gender… only matters to me when I’m having sex.” The international quarterly photography journal Aperture used his photo as the cover for its Queer theme. Commentators also see his work, the naked body and the starched penis, as evolving sexual mores and the struggle for creative and sexual freedom in a conservative, tightly controlled society. But Ren Hang also announced "I don't try to get a message across, I don't give my works names, I don't date them. I don’t want to instill them with any vocabulary. I don't like to explain my photos or work as a whole". It has been mentioned that Ren's work is softcore pornography because of the degree of nudity and sex in it, but he also worked with other themes. The most famous was titled My Mum. Although still under a fetishistic atmosphere, posing with usual props in Ren's works like animals and plants, Ren's mother posed as a clothed model, in a light-hearted way to represent her daily life. Ren's photographs have been included in magazines L'Officiel, GQ Style, and Vice. He worked with fashion companies Gucci, Rick Owens, and Loewe. Ren's work is included in Frank Ocean's magazine Boys Don't Cry. Ren Hang is noted to be greatly influenced by Chinese and Asian contemporary art and in particular, Japanese photographer and contemporary artist Nobuyoshi Araki. Ren Hang mainly worked with a simple point-and-shoot camera. He would direct the models as to how to place their bodies and shoot in quick succession. Genitalia, breasts and anuses were not covered up, but featured, or accentuated with props and close-ups. Colors were rich and high in contrast, increasing visual impact. This, along with the fact all bodies were slim, lithe and relatively hairless, made the impact of his photographs more impressive. His work communicated a raw, stark aesthetic that countered taboos and celebrated sexuality and it was this contemporary form of poeticism in a visual context in which Ren Hang expressed themes of identity, the body, love, loss and death. Nudity is not a theme in art that can be widely accepted by the Chinese older generation. Ren Hang's works are sometimes misinterpreted by the public as pornography. Although some have written that Ren Hang used his photographs to challenge Chinese cultural norms of shame around nudity, he did not believe he was challenging the stereotype and leading a revolution. For him, nudity and sexuality are natural themes which he used in his work. "Nudes are there since always. We were born nude. So talking about revolution, I don't think there's anything to revolutionize. Unless people are born with clothes on, and I want to take their clothes off, then I think this is a revolution. If it was already like that, then it's not a revolution. I just photographed things on their more natural conditions." He said he was not trying to liberate nudity and sexuality since he believed that the Chinese young generation was open-minded and less affected by the old-fashioned cultures. When Ren Hang talked about the question whether the topic of sexuality was still a taboo in China, he said: "I don't think it's related to our times, these are individual cases. Like how to say it, I think it depends on different people, it doesn't really relate to other things. I was not in the whole parents told you that you can only have sex if you get married era. The time after I grow up was already over that period, it was already different like everyone was already more relaxed."Source: Wikipedia Flesh, corpses, souls and bland flashlights, all composite into seconds or milliseconds of lights and shadows, projecting onto the film that never knows how to lie. Focus gathering and the shutter releasing, connecting his unpretentious, rebellious, wild and free perspectives towards the naked human body. The images look so natural, yet fun and unexpected. One soul after another all blossom like a newborn baby, urging to crawl out of his mother’s womb, dying to be redefined. In this era that we live in, being censored by the Chinese government has almost become a stamp of approval for contemporary artists. Ren Hang, a young man with a mature look and tanned skin, hair as short as a Chinese soldiers’, always carrying an irresistibly cute and innocent smile on his cheeks. He is, perhaps, the sole artist and photographer with the most edgy outlook towards the naked human body. Ren Hang continues to stress the fact that he is “boring“. Especially when asked about those basic questions of his inspirational origins and meanings behind the photos, he always just smiles naively, shakes his shoulders and says, “I don’t really know. I never really thought about it.” Perhaps he is such a paver, heading towards the direction of happiness and creative freedom without realizing the pathways he has left behind. You might find him confusing and puzzling, but he has the ambience of such kindness that you would always trust that no evil can come out from him. He is merely a pure form of naked human beings. Source: ITSLIQUID
Gregory Spaid
United States
1946
Gregory Spaid (born, 1946) is an American artist who works in many modes and styles of photography, which are linked by a common thread of illuminating the commonplace. Whether it is the daily movement of pedestrians on the streets of New York City or the leaves that fall in his yard in rural Ohio, it is photography’s potential to transform our common experiences to reveal meaning and beauty that is the hallmark of his work. Spaid’s recent work includes a photography project that explores the importance trees play in our lives and for the health of the planet titled Reading Trees. His work on trees includes Cliché Verre photographs that incorporate actual leaves and other materials on negatives he makes by hand. For this project he traveled throughout the United States and has been awarded artist residencies at the Brush Creek Foundation in Wyoming, Mesa Verde National Park in Colorado, Congaree National Park in South Carolina and the Sonoran Arts Residency in Ajo, Arizona. During the Covid-19 pandemic, he focused on the natural world much closer to home, within footsteps of where he lives, to produce a series of videos to share with friends, titled The Machine in the Garden, that take a close look at nature for the beauty and inspiration still to be found there. Since 2009, Spaid has photographed the dance-like movement of people on the street of New York City for a series of abstract images titled Pedestrians. His photography on the changing landscape of rural America was included in a major group exhibition at The J. Paul Getty Museum in Los Angeles titled Where We Live. As well as the Getty Museum, his work is in other major collections including the Museum of Modern Art, the International Museum of Photography at the George Eastman House, and the Smithsonian American Art Museum. He received a Fulbright Research Fellowship to Italy and is the recipient of eight grants from the Ohio Art Council. Spaid has published two monographs: Grace: Photograph of Rural America and On Nantucket. In 2010, the Getty Museum published his work in an historical survey titled The Tree in Photography. Spaid taught studio art at Kenyon College where he served for nine years in academic administration including six years as the college’s provost. About Leaf Cutting Series "Leaves occur in such abundance where I live in rural Ohio as to seem worthless, and yet each one is astoundingly complex and beautiful both in its form and function. I think of the leaves in this series as visual representations of wildness, while the alterations I make to them -- the cutting -- is a form of rational human intervention. These images from my leaf cutting series are camera-less photographs made from negatives I make by hand -- a process known by the French term Cliché Verre. Cliché Verre is one of the earliest uses of light-sensitive, photographic materials. In the mid-19th century, it was used by a few French landscape painters, including Corot, Delacroix, Millet and Rousseau, to reproduce drawings they made on glass plates. My process is a hybrid one and an experimental contemporary version of that early process. After making a negative by hand, I scan it, process it digitally, and then print it as an archival ink jet print. Because there is no right or wrong way to make Cliché Verre images, I invent my technique as I work and let chance and discovery shape my approach. The subject of this work is leaves that I collect, make translucent, cut in unique shapes, and then combine with other materials (including maple syrup, blueberry juice, glue, India ink) to make hand-made 'negatives.'” -- Gregory Spaid
Nicola Ducati
Italy
1973
My name is Nicola Ducati I am an Italian photographer, travel and portrait photography is my expressive medium. With my pictures I want to tell stories that create empathy between the viewer and the subject with elegance and authenticity. I was born in a small town among the Italian Alps. I have always lived in a beautiful place that has made me grow and appreciate nature, animals, quiet places and respect for what surrounds us, I think this way of living in the countryside has greatly influenced my photographic sensitivity. I approached the world of photography by chance. As a child, I used to play with an old camera found who knows where, a shabby but fascinating object that soon became a passion. Later, my curiosity led me to experiment with many different genres, from the first landscape, travel photography, and finally the travel portrait. Today I especially like photography, which tells stories but also lets you imagine them, which excites and suggests reflections. A narrating photography. What I like I photograph only what I like and what fascinates me, I am a curious person and i try to find what in the world unites us not what divides us, I mean that I try to bring out those traits of humanity that make us all connected. An exercise to accept with empathy the entropy of our world. My photography is not conceptual, it represents what I see, what I feel important, what excites me or moves me. I love when the emotion and the story hidden inside a picture reaches the observer. I entrust my work and aesthetics photography to the task of telling and giving the observer inspiration and sense of belonging. Photography that responds to this, is a successful one.
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Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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