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Win a Solo Exhibition this February. Juror: Harvey Stein
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Stéphanie Probst
Stéphanie Probst
Stéphanie Probst

Stéphanie Probst

Country: Switzerland
Birth: 1986

Stéphanie Probst (1986, Switzerland, lives and works in Geneva) is an artist photographer, zine maker and librarian. She graduated a Master of arts in 2012 (HEAD - Geneva). She practices experimental photography, pinhole and installations that involve the public. She participates in various group exhibitions and leads artistic workshops and initiations to pinhole and experimental and analog photography. Her practice revolves around photography, people and micro-publishing. Fascinated by portraits, she creates series, collections, summons people. She questions identity, body, social relationships. For her, the picture is a transaction, an intimate exchange that requires a relationship of trust.

Websites

stephanieprobst.ch

@stef_probst

 

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More Great Photographers To Discover

Pierre Verger
Pierre Verger
France
1902 | † 1996
Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Sebastien Tixier
Sebastien Tixier
France
1980
Born in 1980 in a small town in central France, Sebastien Tixier now lives and works in Paris, France. Trained as an engineer, the shy fascination that he had during childhood for his father’s camera finally takes over in 2007 when he starts as an independent photographer. Half in the studio, half in the fields, his work goes all the way from the dark corners of staged photographs to documentaries about the questions of our time. His photographs have been awarded by various prices and exhibited in festival or galleries across Europe. Allanngorpoq his latest work to date, synthetizes one year and a half of preparation (documenting, making contacts, and learning the language) and immersion in Greenland. This photo report combines rigorous framing and aesthetics with a documentary work, capturing the evolutions of both a changing territory and its people. The book from this work has been published on December 2014 and is prefaced by Stéphane Victor.
Paul Strand
Paul Strand
United States
1890 | † 1976
Paul Strand was born in New York City. As a teenager, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. A visit to Gallery 291 (owned by Alfred Stieglitz) proved to be a strong influence on Strand, who began to take photographs of his own. He experimented with abstraction but also used his camera as a means to promote social reform. Alfred Stieglitz praised these early efforts and featured Strand's work in his gallery and in his magazine Camera Work. In the early 1920s, Strand began to work in motion pictures as well as still photography. In June 1949, Strand left the United States to present a film in Czechoslovakia, an event which marked the beginning of his self-imposed exile overseas due to the prevailing climate of McCarthyism in America. He settled in Orgeval, France and in the ensuing years photographed extensively, and also produced six book "portraits" of places: Time in New England (1950), La France de Profil (1952), Un Paese (1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: An African Portrait (1976).Source: Robert Mann Gallery Strand married the painter Rebecca Salsbury on January 21, 1922. He photographed her frequently, sometimes in unusually intimate, closely cropped compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. The timing of Strand's departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand's collaborators were either Party members (James Aldridge; Cesare Zavattini) or prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or suspected of being so (Member of Parliament D. N. Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than 20 organizations that were identified as "subversive" and "un-American" by the US Attorney General. When he was asked by an interviewer why he decided to go to France, Strand began by noting that in America, at the time of his departure, "McCarthyism was becoming rife and poisoning the minds of an awful lot of people." During the 1950s, and owing to a printing process that was reportedly only available in that country at the time, Strand insisted that his books be printed in Leipzig, East Germany, even if it meant they were initially banned in the American market on account of their Communist provenance. Following Strand's move to Europe, it was later revealed in de-classified intelligence files, obtained under the Freedom of Information Act and now preserved at the Center for Creative Photography at the University of Arizona, that he was closely monitored by security services.Source: Wikipedia
Wiktoria Wojciechowska
Wiktoria Wojciechowska
Poland
1991
Born 1991, Lublin, Poland, Wiktoria Wojciechowska lives and works in Lublin and Paris. Graduated from the Academy of Fine Arts in Warsaw, Poland, Wiktoria was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese’s metropolis. Between 2014 and 2016 she worked on the series Sparks, a portrait of a contemporary war based on the stories of people living in the Ukrainian conflict. This series received several awards, such Rencontres Internationales de la Photographie New Discovery award’s public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. Labirinto (2017-2019) Labirinto explores the architecture seen as a vector for an ideology, spreading in the inhabitants' thoughts. Architecture stays longer than its creators and might still smuggle fundamental ideas and atmosphere of passed days. Labirinto project is a starting point to discuss how the architecture influence inhabitants and if a city, structured as a symbol of fascist ideology, can become a dwelling for strangers. Wiktoria Wojciechowska works in the area of Agro Pontino in Italy: formerly marshes, which were, throughout centuries, a challenge for the authorities. The Romans, Popes and Napoleon have all tried to drain, recultivate it and build new settlements. The one who achieve the goal was Benito Mussolini, with the help of the hard work of World War I combatants. At the beginning of the '30s, the project of the foundation of the New Cities (Città nuove) started. The best Italian architects of these times were involved to draw the net of streets on the Pontine plain as on a blank page. They were to arrange the monuments and neighborhood buildings - following the current of rationalist architecture, adopted by the fascist as the official style of the ideology - of five cities: Littoria, Pontinia, Sabaudia, Aprilia and Pomezia. Designed in the model of "the rural city", they should serve as a renewal of civilization (Bonifica della cultura) and the so-called Mussolini's Arcadia for a "purified nation" of New Italians. This is how Littoria has been conceived, in 1932, from the mud and has been raised as the first of the five Mussolini's New Cities. Littoria was called the "jewel of Mussolini" and radiated by the combination of a stellate network of streets and curved ring roads, all converging towards the central square (Piazza del Littorio, now Piazza del Popolo). The labyrinth-like city was awaiting the new residents coming from the entire Italy to live in the empty buildings and appreciate the monumental solutions drawn upon the Roman Empire tradition. After World War II, the city was rebaptized to Latina to obliterate its fascist past and became a temporary asylum for displaced Italians and migrants. Between 1957 and 1991, 80 000 foreigners passed by the refugee camp. They were coming from Eastern Europe, fleeing the communist regimes, from Vietnam, Northern Africa, etc. Despite the official closing of the camp in 1991, migration is still an ongoing process. Today, the majority of newcomers originate from sub-Saharan Africa, Nigeria, Gambia, Ghana, Mali… The artist describes her work: In the middle of the day, during "the siesta", when the city is hot and stuffy, the streets become empty. The pale facades of the buildings reflect the sunlight like mirrors and hurt the eyes. As in De Chirico's paintings, the palisades are playing with lights and shades. The emptiness creates an illusion that we are back in the 30s. Only the scratches and colored patches on the walls unmask the timeworn city. From time to time, human figures flash by in the sun. These are those who get lost in this labyrinth, not knowing the rules of the city. They barely arrived there, but who gets into the labyrinth once, might not be able to wriggle out ever. Today in front of Palazzo M - built in the shape of the initial of Mussolini, a queue of immigrants is standing and waiting for their documents. Wiktoria Wojciechowska observes the city - silent witness of changing times - and recent immigrants, far from being integrated. During the conversations, they often mention the discrimination, preconceived ideas, and the fear of locals; their superiority coming from the colonial past, racism. They feel suspended, awaiting decisions and documents, trapped in the city space. The locals expect to move the immigrants out of the cities; they are not to be seen, as they "change the landscape", they should be invisible. The ideology, which sponsored the construction of the cities, is still lying under their foundation. Hidden but yet vivid, deep inside the consciousness. Looking further, Labirinto can be the metaphor of the current sociopolitical situation of all Europe, where newcomers from other continents are seeking asylum and acceptance. The fear of locals (who might have been migrants too) remains, and politics don't promote reconciliation. The policy of fear enables the authorities to seize control of the population's thoughts and define the enemy. The works of Wiktoria Wojciechowska are juxtaposing the fascist architecture - undefined corners of streets, scattered walls, and remains of fascist sculptural iconography - and the portraits of recently arrived migrants. As they wander through a temporarily deserted city, occupying the scene of a petrified ideology, the public space, they reveal a striking contrast with this ideology embodied in the architecture.
Shin Noguchi
Shin Noguchi
Japan
1976
Shin Noguchi, born 1976 in Shinjuku, Tokyo, Japan, is an award winning street photographer based in Kamakura and Tokyo, Japan. He describes his street photography as an attempt to capture extraordinary moments of excitement, humanism and beauty among the flow of everyday life. With his discreet, poetic and enigmatic approach to his art, Shin is able to capture the subtleties and complexities of Japanese culture without relying on staged, no-finder or hip shot photography. He has been invited to hold solo exhibitions in Russia, France, China (organized by Leica Camera) and other countries, and also He has been featured on The Leica Camera Blog many times, in Courrier Inte'l, Internazionale, Libération, The Guardian, The Independent, etc, and some assignment work has been also published in Die Zeit, Libération, etc. His new book "In Color In Japan" was published in Italy, and one of his works was used as key visual for FIFDH 2022: The International Film Festival and Forum on Human Rights. Currently, he has been selected for Leica Camera's new global campaign “M is M.” "The subjects tell me the meaning and value of life. To take a picture is to affirm the existence of peopleーthe human nature and karmaーand it's also an opportunity to affirm my own existence and accept it as it is." In Color in Japan From the introduction of the book: Like all good photographers, Shin Noguchi treats the camera as another appendage - a special sensory organ merging hand and eye that allows him to show us what he sees, and more subtly, how he sees. And his camera is always working. Noguchi is internationally respected as a "street photographer," but while he has won numerous prizes for his work in that genre, the appellation does not do justice to his omnivorous eye. His is just as likely to record tender moments with his family or newsworthy events like the typhoon as his encounters on the streets of Tokyo where he works, or Kamakura, where he lives. The connecting vein that runs throughout his work is a belief in the appearance of objectivity, a belief that first began to manifest when he discovered the work of the Magnum photo cooperative when he was still in his teens. It was, as he has said, the first time he realized that art and documentation could be merged. Noguchi knows perfectly well that what he shows us reflects his own sensibility and intellect but prefers to dial back the expressionistic impulse. It is an old trick in photography: make the viewer believe that had she been standing next to him she would have seen precisely what he saw. It’s also a difficult trick to pull off, particularly when the everyday world seems to be so full of surprises. In Noguchi-world, Giraffes wander about temples with Buddhist monks; workers dive into random circular openings in giant bushes, or burst from openings in blank walls as if transporting to or returning from another dimension; golf carts cluster like insects on neon-green lawns; objects possessed of more animate power than the people carrying them seem to propel their human cargo down the sidewalk instead of the opposite. In many images, goofy absurdity suddenly explodes from a sober social milieu in a way that seems to Western eyes particularly Japanese. Sentiment and affection are common themes, but the work is never sentimental. His new book, "Shin Noguchi, in Color in Japan," skates across the peaks of many of Noguchi’s favorite preoccupations (I personally have developed a fondness for his utterly adorable daughters) and one can only hope that we will get to explore his work more deeply in the future. - Chuck Patch museum curator, photographer and writer
Scott M. Fincher
Scott M. Fincher
United States
1946
So what differentiates a portrait of a person from a picture of an object? Essentially nothing. A photographer's purpose is revelation. In the street or in the corporate suite the imperative is to take surfaces into the interior so that the viewer comes to understand something about what has been presented. This could be an aspect of personality or the structure of a design. In short, one can say no more than one can see. Early in my career, I used to fantasize that I could be a Beethoven of photography. The idea contradicts the central principle of the medium. What distinguishes photography from the other arts is time. Unlike music, which takes a single idea and expands it, photography interrupts the continuum and digests it into an exquisite moment where understanding, composition and action intersect. All this is expressed succinctly in poet e.e. cummings's introduction to his volume "Is Five": "I am abnormally fond of that precision which creates movement." In my eyes, photography also adheres to Francis Bacon's maxim, "The contemplation of things as they are without error, without confusion, without substitution or imposture is in itself a nobler thing than a whole harvest of inventions." That is why I love both nature and the street and quest for the image that sits on the cusp of the real and surreal. For the most part, I do not manipulate the images in the digital "darkroom" any more than I would have were I using techniques of the old "wet" darkrooms. Mostly, I adjust luminosity. My background is print journalism. I edited photography and foreign and national news for the Chicago Tribune and Chicago Sun-Times for many years before deciding to rededicate myself to my passion. It has been, as the great Edward Steichen once said about the photographic act, "Incredibly easy and impossibly difficult." Nevertheless, the results have been good, and I have won national, international and art fair awards since my return to photography in 2006. My images are in collections all over the U.S. and in Germany, Poland, Denmark and Venezuela. I hold a bachelor's in English from Northwestern University, Evanston, Ill., and have studied photography in too many workshops to enumerate. I live in Chicago.
Elizabeth Bourne
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
André Kertész
André Kertész
Hungary
1894 | † 1985
André Kertész, born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism. Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success. Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period. Source: Wikipedia André Kertész (1894–1985) has been hailed as one of the most important photographers of the twentieth century. Working intuitively, he captured the poetry of modern urban life with its quiet, often overlooked incidents and odd, occasionally comic, or even bizarre juxtapositions. He endeavored "to give meaning to everything" about him with his camera, "to make photographs as by reflection in a mirror, unmanipulated and direct as in life." Combining this seemingly artless spontaneity with a sophisticated understanding of composition, Kertész created a purely photographic idiom that celebrates direct observation of the everyday. Neither a surrealist, nor a strict photojournalist, he nevertheless infused his best images with strong tenets of both. "You don't see" the things you photograph, he explained, "you feel them." Born Kertész Andor in Budapest, he received his first camera in 1912 and immediately began to make intimate portraits of family and friends, studies of the Hungarian countryside, and scenes of daily life behind the battle lines of World War I. Seeking to make a living through photography, he moved in 1925 to Paris, where he established a successful career as a photojournalist. Buoyed by this accomplishment and inspired by the vibrant artistic community of the French capital, he created some of the most intriguing and celebrated images of the period. In 1936 Kertész relocated to New York in order to further his career. Captivated by the rich visual spectacle of the city and awed by its scale, he used the camera to record both his fascination with, and sense of alienation from, his new surroundings. The images attest to a complicated personal history borne through the political upheavals of two wars and life in three countries. He died at age ninety-one. This exhibition offers a comprehensive overview of Kertész's rich and varied career. Source: The International Center of Photography
Matthew Brandt
Matthew Brandt
United States
1982
Matthew Brandt (born 1958 in Los Angeles) is a American photographer and visual artist. Calling his approach "a little bit messy and experimental," Brandt produces large-scale photographs through labor-intensive processes recalling the 19th-century origins of photography, often incorporating the physical matter of the subject itself. Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities. The reciprocal relationships that Matthew Brandt creates between his subjects and the materials used to represent them are always conceptually grounded, often in response to social and environmental issues. He is deeply inquisitive, even fearless, in his exploration of subjects, materials, and processes, reinvigorating the medium of photography with a sense of wonder.Source: The Lapis Press Matthew Brandt received his BFA from Cooper Union and MFA from UCLA. Brandt has been the subject of institutional solo shows at the Newark Museum, the Columbus Museum of Art, Virginia Museum of Contemporary Art and SCAD Museum of Art, Savannah. Recent group exhibitions include works in New Territory: Landscape Photography Today at the Denver Art Museum, The Magic Medium at the Los Angeles County Museum of Art; Light, Paper, Process: Reinventing Photography at the J. Paul Getty Museum, Los Angeles; Second Chances at the Aspen Art Museum; What is a Photograph? at the International Center of Photography, New York; and Land Marks at the Metropolitan Museum of Art, New York. Brandt was shortlisted for the prestigious Prix Pictet Award in 2015 and had his work showcased in an exhibition at the Musée d’Art Moderne de la Ville de Paris. His work can be found in the permanent collections of the Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Guggenheim Collection, NY; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; Denver Art Museum, Colorado; High Museum, Georgia; Detroit Institute of Arts, Michigan; and the Columbus Museum of Art, among others. In 2014 a monograph devoted to Brandt’s work was published by Damiani. Matthew Brandt lives and works in Los Angeles.Source: matthewbrandt.com Matthew Brandt's photography conflates subject and material, incorporating physical elements from the sources he’s depicting to create unique compositions that are technically inventive and conceptually sly. For Lakes and Reservoirs, his landscapes were bathed in the water of their subjects; 2014’s Dust featured reproductions of historical photographs of demolished structures, rendered in pigments borne of debris collected from those buildings’ contemporary sites. For 1864, his first exhibition at Jackson Fine Art, Matthew Brandt again turns to the archives, reinterpreting George N. Barnard’s photographs of a post-Sherman Atlanta by making images of a shattered city into peach pie.Source: Jackson Fine Art
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All About Photo Awards 2026
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Latest Interviews

Exclusive Interview with Marijn Fidder
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.
Read the full interview
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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Exclusive Interview with Alan Schaller About Irys
Interview
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
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