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Barbara Hazen
Barbara Hazen
Barbara Hazen

Barbara Hazen

Country: United States
Birth: 1958

Barbara Hazen’s work explores the internal self and the intersection of memory and the family scrapbook, with an emphasis on cyanotype and platinum palladium processes. Her most recent work uses flowers as a metaphor to observe beauty in the beginning and ending of life.

She received a BS from UCSB and later attended the California Culinary Academy. After a career as pastry chef, Hazen returned to her photographic practice. Her work has been featured in numerous publications and exhibited in both group and solo exhibits including Center for Photographic Art, ASmith Gallery, HLiiC Gallery, The Plaxall Gallery, CordenPotts Gallery, The Image Flow, SoHo Photo Gallery, Sorensen Gallery, LightBox Gallery, and Focus Gallery.

Website

barbarahazen.com

 

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More Great Photographers To Discover

Paul Outerbridge
Paul Outerbridge
United States
1896 | † 1958
Paul Outerbridge, Jr. was an American photographer prominent for his early use and experiments in color photography. Outerbridge was a fashion and commercial photographer, an early pioneer and teacher of color photography, and an artist who created erotic nudes photographs that could not be exhibited in his lifetime. Paul Outerbridge, while still in his teens, worked as an illustrator and theatrical designer creating stage settings and lighting schemes. After an accident caused his discharge from the Royal Canadian Naval Air Service, in 1917, he enlisted in the U.S. Army where he produced his first photographic work. In 1921, Outerbridge enrolled in the Clarence H. White school of photography at Columbia University. Within a year his work began being published in Vanity Fair and Vogue magazine. In London, in 1925, the Royal Photographic Society invited Outerbridge to exhibit in a one-man show. Outerbridge then traveled to Paris and became friends with the artists and photographers Man Ray, Marcel Duchamp, and Berenice Abbott. In Paris he produced a layout for the French Vogue magazine, met and worked with Edward Steichen, and built the largest, most completely equipped advertising photography studio of the times. In 1929, 12 of Outerbridge's photographs were included in the prestigious, German Film und Foto exhibition. Returning to New York in 1929, Outerbridge opened a studio producing commercial and artistic work, and began writing a monthly column on color photography for the U.S. Camera Magazine. Outerbridge became known for the high quality of his color illustrations, which were done in those years by means of an extremely complex tri-color carbro process. In 1937, Outerbridge's photographs were included in an exhibit at the Museum of Modern Art and, in 1940, Outerbridge published his seminal book, Photographing in Color, using high quality illustrations to explain his techniques. Outerbridge's vivid color nude studies included early fetish photos and were too indecent under contemporary standards to find general public acceptance. A scandal over his erotic photography led to Outerbridge retiring as a commercial photographer and moving to Hollywood in 1943. Despite the controversy, Outerbridge continued to contribute photo stories to magazines and write his monthly column. In 1945, he married fashion designer Lois Weir and worked in their joint fashion company, Lois-Paul Originals. He died of lung cancer in 1958. One year after his death, the Smithsonian Institution staged a one-man show of Outerbridge's photographs. Although his reputation has faded, revivals of Outerbridge's photography in the 1970s and 1990s has periodically brought him into the public's awareness. Source: Wikipedia
Dilla Djalil-Daniel
Dilla Djalil-Daniel
Indonesia
1966
Dilla Djalil-Daniel is a Jakarta based documentary photographer who was born in 1966. Her first introduction to the camera was when her father gave her a boxy Kodak camera as her 9th birthday present. Ever since then she has been something of a shutterbug. Dilla obtained her bachelor degree from The University of Indonesia, majoring in English Literature. Dilla's first photography mentor was her late father, and for many years she shot her objects intuitively, relying on her feelings, sensitivity and a good eye. In 2010 she decided to join a photojournalism workshop in Bangkok. She had finally found the genre that suited her the most, which is story telling using her camera. One workshop inevitably leads to another, and she found herself attending more and more documentary and photojournalism workshops. Dilla is an alumnus of the Foundry Photojournalism workshop, the Momenta Documentary workshop and the Obscura Workshop. These overseas workshops also suited her well since she loves adventurous travelling. In the course of these workshops she has been fortunate to have had an impressive list of various award-winning photojournalists as her mentors. For Dilla photography is the medium that enables her to express her feelings. It is an art form that sees the camera as a brush and light as paint and the intent is always to narrate a story. It is her wish to carry on telling stories through her pictures, the stories she feels like telling, for as long as she can. Orphans of the Forest As a documentary photographer who also happens to be an animal lover, my main motivation has been to explore the different facets of the relationship between mankind and the animal kingdom. What speaks to me most is trying to capture the mysterious forms of communication that can and do exist between us. I tend to spend a considerable amount of time portraying domestic and wild animals in the form of a photographic narrative. It is most certainly not just a matter of trying to capture images of animals looking cute. The relationship between animals and humans is complex even if there is a dependency with domesticated animals, let alone with animals in the wild, whose existence is threatened by human presence or activities. What I find particularly poignant is where the relationship between animals and humans involves both abuse and dependency. Domestic and increasingly animals in the wild can and do benefit from compassionate intervention by humans. Much of my work attempts to depict this in action. The people involved are often rather under appreciated but it does not affect their devotion and passion in helping their charges by trying to improve their welfare and health. My intention is to try and speak on behalf of the animals and those who care for them.
Idan Hojman
Idan Hojman
Israel
1980
Idan Hojman was born In Israel in 1980. He started making photography at the age of 21 while traveling in Asia. Idan uses a Rolleiflex analogical camera of medium format, mainly shooting in Black & White. He currently lives in Barcelona, Spain. Artist Statement: "For me photography is a form of meditation, a simple observation of what is happening around us, a way to connect with the present moment from instant to instant. There is so much beauty in this world; one has only to open his eyes and heart in order to see it."Source: www.idanhojmanphotography.com
Patricia McElroy
Patricia McElroy
United States
Patricia McElroy was born in Philadelphia and raised in Ireland, a duality that continues to shape both her life and work. After graduating from the National College of Art & Design in Dublin, she returned to the U.S., where she and her husband built a successful design business. While her career has moved fluidly between art, design, and entrepreneurship, photography has remained her most personal and enduring form of expression—a way to explore themes of memory, place, identity, and belonging. Between Then & Now Six years ago, McElroy’s 94-year-old mother came from Ireland for what was meant to be a short visit. Her deteriorating eyesight and dementia made it clear she could no longer live on her own and a new chapter quietly began for them both. At first, McElroy picked up her camera as a way to hold onto the mother she knew, but what started as a gesture of preservation soon became something more—a quiet reflection on how memory drifts, resurfaces, and reshapes itself over time. In many ways, her mother exists in both places even now—her memories drifting between both lands, echoing the family’s own migration story. McElroy realized that migration doesn’t just alter geography—it reshapes how we remember and where we feel we belong. Distance doesn’t erase the past, but reframes it, softening some details and sharpening others. This led McElroy to examine her own immigrant experience, using her mother’s life and their shared generational story as a lens to explore the complexities of memory, migration, cultural identity, family, and home. In doing so, she recognized that her past and present photographic work had long been rooted in these themes. Her growing archive—both personal and inherited—became part of the exploration, revealing a continuity in her artistic voice that had always been quietly present. For McElroy, immigration has never been a single moment, but a rhythm—an ongoing dance between two places, two cultures, and two selves. Her family has long carried two homes in their hearts, navigating the layered contradictions of belonging. Ireland is where their roots run deep, where legacy is woven into the land; America is where reinvention lives, where possibility expands. Over time, the boundary between the two became less defined—not a point of conflict, but a quiet acceptance of a life shaped by both. McElroy captures the fragile space where cultural and emotional threads bind past to present. Her images speak to love, loss, resilience, and the ways migration and remembrance shape who we are and where we feel we belong. In telling her own family’s story, she’s also telling a more universal story—of beauty found, and life lived fully in the journey Between Then & Now.
Ruud van Empel
Ruud van Empel
Netherlands
1958
Ruud van Empel (born 21 November 1958 in Breda) is a Dutch photographer and visual artist. He studied at the Academie voor Beeldende Kunst St. Joost (St Joost Academy of Art) in Breda in the 1970s, and began making independently produced videotapes in the eighties. He moved to Amsterdam in the late eighties to work on his career as a visual artist. His first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented his first solo exhibition in 1999. He made his international breakthrough with his series World-Moon-Venus, which was shown in the George Eastman Museum in Rochester, New York State. Until mid-1995, Van Empel’s art was primarily generated by a process of assembling analogue photographic images. At that point, he exchanged this traditional collage technique – cutting, pasting and retouching in the darkroom – for image processing on the computer, working in an idea-driven manner. The first series created with this method was The Office (1995). In a technical sense, The Office displays a handicraft-like quality, missing the perfectionist character of his later work. Nevertheless, Ruud van Empel clearly demonstrated that his approach differed from other disciplines such as staged photography. In certain aspects, The Office offered a somewhat surrealistic character and referred to photomontages from the 1920s in terms of style and design. On the basis of this art-historical reference, Van Empel created a new genre within photography – without a ready-to-wear label. The artist himself speaks of the ‘construction of a photographic image’. Although he does make use of pure photomontage – he never applies so-called morphing techniques – the final result strives for content aligned to natural reality rather than to surrealism. The artificiality is visible but the final image is a convincing, autonomous reality. As a consequence, the work does not seem grotesque or absurd but could theoretically actually appear in reality. In that respect, Van Empel’s images are independent. They do not manifest themselves as ‘symbolic’ and have been stripped of all ‘pictorial’ associations. He does not deploy photography as a substitute for painting but rather uses it as an independent form of depiction. Every image consists of photographic sources that are digitally assembled on the computer. The work of Ruud van Empel exists by grace of the camera by means of which he records his building blocks. After The Office, he created the Study for Women series, which comprises a number of female portraits that refer to the magic realism art movement. In this series, produced in the period 2000-2002, he displayed the form language with which he would soon gain worldwide recognition. The Study in Green series from 2003-2004, the Untitled series from 2004, and the three closely related series World, Moon and Venus, which he began in 2005, represented Van Empel’s true international breakthrough. Curator Deborah Klochko invited him to participate in the exhibition entitled Picturing Eden in the George Eastman House. In the book Ruud van Empel Photoworks 1995-2010, she wrote: ‘Van Empel’s virtuosity lies in his capacity to combine in photography the kind of ideas anchored in painting (historical references, the power of a glimpse, use of colour) and cinema (structure with multiple images and the power of a narrative), and to do so on a large scale. To understand his work you must ask yourself: ‘Is it science or art? Is it real or imaginary? Is innocence or decadence?’ Particularly the World series, which explores the theme of innocence, made a deep impression. These works were inspired by photos taken by his father. Van Empel placed neatly dressed, black boys and girls in paradisical settings of unspoiled, non-existent natural surroundings. Great interest in and appreciation of this series are expressed worldwide to this day. The breakthrough in America also led to renewed attention in Dutch museums. Van Empel has had solo exhibitions in Museum Het Valkhof in Nijmegen, the Groninger Museum and the NoordBrabants Museum in ’s-Hertogenbosch. Since the international recognition of his work gave Ruud Van Empel the status of an artist with an own independent form language, he has progressively extended his oeuvre with the Theatre series from 2010-2013, and Souvenir, which provided a charged picture of his youth in Breda. This series was purchased by the NoordBrabants Museum. A typical feature of the work of Ruud van Empel is the composition of a perfected and idealized representation right down to the finest details. But this always has a darker side, albeit not always evident. Ruud Schenk, curator of the Groninger Museum, wrote about that aspect with reference to the Study for Women series (2000-2002): ‘As a spectator you feel that there is something not quite right about the depiction of the women: they are not completely lifelike, but tend to be a mixture of real women and window dummies. This generates a certain discomfort, an uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at the beginning of the 20th century.’ Although the photographic images seem to capture an epoch, you can hardly assign a date to any of them. This timeless element of Van Empel’s work has taken on a different significance in his recent work, as he deals with themes such as transience and Vanity in his Still Life series from 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the pose of the model and the aesthetics of nudity. In the Solo Work series, on which Ruud van Empel has been working since 2011, he consistently deals with just one topic in an isolated work. The moral, ethical and aesthetic dilemmas of society and art are presented to us in a photographic form language. The significance of these is shown in the countless publications and international exhibitions of this work, not only in institutions specialized in photography but also in renowned museums for modern visual art.Source: Wikipedia
Marion Post Wolcott
Marion Post Wolcott
United States
1910 | † 1990
Marion Post (later Marion Post Wolcott) (June 7, 1910 - November 24, 1990) was a noted American photographer who worked for the Farm Security Administration during the Great Depression documenting poverty and deprivation. She was born in New Jersey. Her parents split up and she was sent to boarding school, spending time at home with her mother in Greenwich Village when not at school. Here she met many artists and musicians and became interested in dance. She studied at The New School. She trained as a teacher and went to work in a small town in Massachusetts. Here she saw the reality of the Depression and the problems of the poor. When the school closed she went to Europe to study with her sister Helen. Helen was studying with Trude Fleischmann, a Viennese photographer. Marion showed Fleischmann some of her photographs and was told to stick to photography. While in Vienna she saw some of the Nazi attacks on the Jewish population and was horrified. Soon she and her sister had to return to America for safety. She went back to teaching but also continued her photography and became involved in the anti-fascist movement. At the New York Photo League, she met Ralph Steiner and Paul Strand who encouraged her. When she found that the Philadelphia Evening Bulletin kept sending her to do "ladies' stories," Ralph Steiner took her portfolio to show Roy Stryker, head of the Farm Security Administration, and Paul Strand wrote a letter of recommendation. Stryker was impressed by her work and hired her immediately. Her photographs for the FSA often explore the political aspects of poverty and deprivation. They also often find humor in the situations she encountered. In 1941 she met Lee Wolcott. When she had finished her assignments for the FSA she married him, and later had to fit in her photography around raising a family and a great deal of traveling and living overseas. Source: Wikipedia A biographical sketch by Linda Wolcott-Moore "As an FSA documentary photographer, I was committed to changing the attitudes of people by familiarizing America with the plight of the underprivileged, especially in rural America... FSA photographs shocked and aroused public opinion to increase support for the New Deal policies and projects, and played an important part in the social revolution of the 30s", said Marion Post Wolcott. Beginning in September of 1938, Wolcott spent three and a half years photographing in New England, Kentucky, North Carolina, Florida, Louisiana and Mississippi. A photographic pioneer on America's ragged economic frontier, Wolcottt survived illness, bad weather, rattlesnakes, skepticism about a woman traveling alone and the sometimes hostile reaction of her subjects in order to fulfill her assignments from the Farm Security Administration (FSA). Unique among FSA photographers, Wolcott showed the extremes of the country's rich and poor in the late 30's, its race relations, and the fertile land formed with government assistance, which revealed the benefits of federal subsidies. Her work has a formal control, emotional reticence and keen wit.(...) Marion Post entered the 20th Century on June 7, 1910, one of two daughters of Marion (Nan) Hoyt Post and Dr. Walter Post. The Posts were a prominent family in Montclair, New Jersey where Dr. Post was the local physician, a homeopathist, in those days, the leading type of medicine. The Posts ended their marriage when Marion was a young teenager, and she and sister Helen were packed off to boarding school. At Edgewood School in Greenwich, Connecticut, removed from the trials of her parents’ bitter and heart-rending divorce, Marion thrived in a progressive atmosphere which fostered open inquiry, flexibility and individuality. Throughout those early years, she also had a very close, loving relationship with the Post’s black housekeeper, Reasie, a relationship that gave Marion an ease and empathy with the blacks she would later photograph in the fields and juke joints of the deep South. On weekends and in the summer--whenever possible--she spent time with her mother, Nan, in her tiny Greenwich Village apartment in New York City. Nan was working with Margaret Sanger helping to set up health and birth control clinics around the country, a pioneer in her own right and an inspiration to Marion. In "The Village," mother and daughter hung out with musicians, artists, writers and members of the theatrical crowd, went to art exhibits, lectures and concerts, and after graduation from Edgewood, Marion fell in love with, and began studying, modern dance. At the same time she was working her way through school as a teacher of young children, pursuing her interest in early childhood education at the New School for Social Research, and then at New York University. As the Great Depression began to impact the working people around her, she witnessed dramatic class differences among those living in the small Massachusetts town where she was then teaching.(...) Soon after, in 1932, Marion traveled to Europe to study dance in Paris, and later, child psychology at the University of Vienna. There she met Trude Fleischmann, a Viennese photographer with whom her sister Helen was studying. Upon seeing Marion's first photographic images, Trude encouraged her to continue. "Sis," you've got a good eye," she exclaimed, a line Marion Post would never forget, although she was quite reticent about encroaching upon the territory of her sister, Helen, long considered the artist in the family. Meanwhile, a horrified young Marion and Helen were witnessing the rise of Nazism and Fascism in Europe. Of their friends, again many were musicians, artists, and young intellectuals. Many also were Jewish, and Marion watched as swastikas burned in front of the homes of her anti-Nazi friends, and their fields and fences were set ablaze. She was further rocked by the assassination, during the winter of 1933-34, of Austrian Chancelor Dolfuss and the bombing of apartments of socialist workers near Vienna. Lending a hand, she spent several months working in the local schools with the children of Austrian workers. It was too dangerous, however, for her to stay; the University of Vienna had been closed, and Marion was told either to return home or give up her small allowance. Back in the States, she took a teaching position at the progressive Hessian Hills School at Croton-on-Hudson. Here she began taking more photographs and making her first prints. Close to New York, she also became active in the League Against War and Fascism, and, together with Helen, helped Jews, including Trude Fleischmann, leave Europe and immigrate to the United States. She had friends in the socially and politically concerned Group Theatre who became both subjects and clients, and she published her first work in Stage Magazine. Encouraged by her progress, a year later, at twenty-five, Marion moved to New York and began freelancing, even landing a picture on the cover of the New York Times Magazine. She also began attending meetings of the New York Photo League, an important organization that was influencing many of the country's best young photographers. There Marion met Ralph Steiner and Paul Strand who, upon seeing her work, asked her to join a group of serious young photographers who met at Steiner's apartment to discuss and critique each other's photography.(...) Needing more certain wages, Marion accepted a position as a staff photographer for the Philadelphia Evening Bulletin. As a young woman, however, she was required to do stories on the latest fashion and events for the ladies' page, hardly compelling assignments for a young woman of 25 with her background and experiences! Mentioning her frustrations to Ralph Steiner one day, he took her portfolio with him to Washington, to Roy Stryker, head of the Farm Security Administration. Stryker was impressed, asked to meet her. So, armed with letters of recommendation from no less than Paul Strand and Ralph Steiner, Marion Post set off for Washington. She was hired immediately, and joined the ranks of the other FSA photographers, Dorothea Lange, Walker Evans, Russell Lee, and Arthur Rothstein, among them. From 1938 through 1941, Marion produced many of the most vividly moving of the more than 100,000 images in the FSA archives, reflecting her many years of social and political involvement, her strength and independence, and her deep sensitivity to the children and families of the less fortunate. The Farm Security Administration had been mandated by President Franklin D. Roosevelt to assist American farmers who had suffered grievously during the Depression. Families were stranded and starving; soil was worn out, unfit for production.(...) Segregation and discrimination; humiliation and condescension; labor movements; eroded, worn-out land; dirty, sick, malnourished children; overcrowded schools. She traveled primarily alone, got tired and lonely and sick and burned out. She had to wrap her camera in hot water bottles to keep the shutters from freezing; write captions at night in flimsy motel rooms while fending off the men trying to enter through the transoms; deal with southern social workers, suspicious cops, chiggers and mosquitoes; mud, heat, and humidity.(...) In 1941, Marion met the man she wanted to marry--Lee Wolcott, a handsome, bright assistant to Henry Wallace, Secretary of Agriculture under President Roosevelt. Marion completed her assignments and left the FSA in order to raise a family, tend their farms, and later to live and travel extensively overseas. Both passionate, eager, curious, intellectual, they developed interesting modern art and music collections; had interesting, involved friends; were deeply committed to the raising and educating of four accomplished children, and with mentoring their grandchildren. Although she did not again work as a "professional," largely due to the demands of family and overseas living and traveling, she captured numerous serious images of farming in rural Virginia, and later in Iran, Egypt, Pakistan, India, and Afghanistan. Upon returning to the States, she taught and photographed American Indian children in New Mexico, did a series on the ‘70’s counter-culture in Isla Vista, California, and in Mendocino, California. She also was actively involved with the photography communities in both San Francisco and Santa Barbara where she helped, encouraged, and inspired, and was loved by many younger artists, worked with museum and gallery curators, and, in the 80’s, at the urging of the same, undertook a massive project to produce an archive of fine prints of her work of both the FSA and later years.(...) Letter from Paul Strand "Dear RoyIt gives me pleasure to give this note of introduction to Marion Post because I know her work well. She is a young photographer of considerable experience who has made a number of very good photographs on social themes in the South and elsewhere... I feel that if you have any place for a conscientious and talented photographer, you will do well to give her an opportunity."--Paul Strand 6-20-38 Marion's favorite image "I guess if I had to pick one, just one, favorite image, it would be the Negro Man Going Up the Stairs of the Movie Theatre. I think it says the most about me, about what I was trying to do and trying to say." (Conversation with her daughter, Linda)
Edmund Teske
Edmund Teske
United States
1911 | † 1996
Edmund Rudolph Teske (March 7, 1911 – November 22, 1996) was a 20th-century American photographer who combined a career of taking portraits of artists, musicians and entertainers with a prolific output of experimental photography. His use of techniques like: combined prints, montages and solarizations led to "often romantic and mysterious images". Although he exhibited extensively and was well known within artistic photography circles during his lifetime, his work was not widely known by the public. He has been called "one of the forgotten greats of American photography."Source: Wikipedia Born in Chicago, Edmund Teske began taking photographs at age seven with his mother's Kodak Scout 2-C camera. In 1931, while attending evening classes at the Huttle Art Studio, he installed a photographic studio in his family's basement. Soon he purchased a view camera and started photographing the streets of his hometown. After working for a commercial studio in Chicago, Teske was awarded a photographic fellowship in 1936 that enabled him to study under the guidance of the architect Frank Lloyd Wright. Teske taught in the late 1930s at Chicago's New Bauhaus (later the Institute of Design), then moved to New York to work as Berenice Abbott's assistant. In 1943, Teske settled in Los Angeles, where he became interested in cinema, and in the early 1950s he was active with several small theater groups. During this period Teske refined the experimental photographic processes that he had begun to explore in the 1930s, such as solarization, combination printing, and chemical toning, and began to regularly exhibit and publish his work. In the 1960s, Teske was an influential visiting professor of photography at UCLA and other schools.Source: International Center of Photography Edmund Teske believed in the transformative potential of photography. He was interested in more than the inherent characteristic of the medium to record a specific moment in time. For Teske photography was a way to explore the soul of his subjects and creating the negative was only the beginning. His composites of multiple negatives and his use of solarization, as well as his exquisite gelatin silver prints, express the complexity and depth of his personal vision. His composites often layered images from different periods and places and sometimes outside sources. As the assemblage artist George Herms suggested, Teske's composites and solarizations are like Jazz variations on a theme. Though they often contain allegory and symbolism, they are not nostalgic. Rather, they exist as expressions of his various beliefs. Teske believed in the coexistence of both the masculine and the feminine within every individual. Furthermore, he believed in the connectedness of all life and that time is both fluid and cyclical. In the 1930s, Edmund Teske gained experience in theater and portraiture photography and became friends with Nathan Lerner, who introduced Teske to Laszlo Moholy-Nagy. During the depression, he photographed for Frank Lloyd Wright, Paul Strand (for his film, Native Land), and the U.S. Army Corps of Engineers and he printed for Berenice Abbott. In 1943 Teske traveled to Arizona to photograph at Wright’s Taliesin West and continued on to Los Angeles where he became friends with Man Ray and Anaïs Nin. Teske was introduced to Vedantic thought, a Hindu philosophy, and its mythology and symbolism greatly influenced Teske’s later work. In 1950 he moved to Topanga Canyon where he became a part of an enclave of artists, black-listed actors and intellectuals, including Wallace Berman, Will Geer, George Herms, Walter Hopps and Dean Stockwell. It was during this time within a nurturing environment of like-minded, creative, free-thinking individuals that Teske's singular style evolved. Teske’s work was included in Museum of Modern Art’s 1960 The Sense of Abstraction show and it was Edward Steichen who named Teske’s innovative process “duotone solarization.” While teaching at UCLA in the 1960s, Teske was a colleague of Robert Heineken and became a mentor to many local photographers.Source: Gitterman Gallery
Michael Anker
Michael Anker
Germany
I entered the professional side of photography during my studies in graphic design. It was then that I discovered the rich tonality and depth of tones that can be found in analog black-and-white photos. My photography teacher at the time, Manfred Paul, provided the necessary inspiration. Nowadays, I execute the majority of my projects using analog methods once again. This approach allows me to alleviate the time pressure from the creative process. "The Dark River" from the cycle "Remember me?" For several years, I have been working on my photographic series "Remember Me," which explores traces of my cultural identity. At the same time, it serves as a long-term study of the relationship between people and landscapes. My focus is on two topographies that lie beyond media attention: the Oderbruch region on the northeastern border of Germany and Poland, and the former German-speaking enclave of Hirschenhof in present-day Latvia. Both areas, which have undergone significant changes, are also imbued with traces of the last great war. My family stories are rooted in these places. The first part of the series, "The Dark River," presented here, tells the story of my father's family's deep connection with nature. The subsequent second part, "The Dark Silence," will explore the migration and flight of my maternal family. Without explicitly stating it, the work invites reflection on the fact that economically or politically motivated migration has always existed. The anchor point of "The Dark River" is the Oder River, which today forms the border between Germany and Poland. Along the Oder, my father's family witnessed the two-and-a-half-century-long transformation of the once primeval river and swamp landscape into an agrarian cultural area, initiated by the Prussian King Frederick II. This region also saw one of the fiercest battles of World War II in 1945. It was here, after the war, that my father met my mother's family, who had reached the Oderbruch on a trek from the Wartheland/Poland. They later met while dancing at the "Schwarzer Adler" in Seelow. In "The Dark River," long-buried memories and dreams resurface. Calm and dark, the Oder flows, filled with memories of itself and the people along its banks. The sky reflects in it, even at night. Dark shallows remain hidden. Sluggish like the stream, life moves through the plains, carrying my own family history with it. Where the landscape is left undisturbed, it recalls its own fertility and the myths that once surrounded it. Scars in its terrain remind it of its vulnerability, keeping the pain alive, and these scars grow deceptively. The images are captured on 120 film, which I believe is the only suitable format for processing history and stories in an epic way.
Tracy Burke
Tracy Burke
United States
1964
Tracy Burke is a visual artist whose practice examines nature as humanity's salvation. Working primarily through photography, she explores places that remain essentially untamed despite their public accessibility, investigating human engagement with the natural world and its profoundly positive psychological, emotional, and physical effects. Burke received her BA in History from Yale University, where she served as editor and publisher of Black and White: The Yale Undergraduate Photography Review. She later earned a master's degree in clinical social work from Smith College. After a transformative three-month wilderness experience at age 22 that fundamentally shifted her understanding of what gives life meaning, Burke initially set aside photography, feeling unable to capture the profound impact of the natural world through her lens. She returned to the medium years later while documenting family outings to national parks, recognizing that these images transcended family snapshots to become powerful artistic statements about human connection to the natural world. Burke's work has been exhibited at the Colorado Photographic Arts Center in Denver and the Dairy Arts Center in Boulder, Colorado. Her photographs have been published in Lenscratch and included in online exhibitions with the Center for Fine Art Photography in Fort Collins, Colorado, and PhotoPlace Gallery in Vermont. Her work is held in numerous private collections. She lives and works in Boulder, Colorado. AAP Magazine AAP Magazine 54 Nature
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Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Exclusive Interview with Peter Ydeen
Interview
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.
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Exclusive Interview with Julie Wang
Interview
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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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
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.
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Exclusive Interview with Robert Mack
Interview
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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