All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Hsuan Chung
Hsuan Chung
Hsuan Chung

Hsuan Chung

Country: Taiwan
Birth: 1985

Hsuan Chung is a passionate photographer who started his interest in photography when he was seventeen. During his college years in Taiwan, he taught himself all the skills and techniques of photography and became a professional newspaper journalist before graduation.

He wasn't satisfied with his works and wanted improvement. That is when he decided to relocate to Atlanta to work on his M.F.A degree in Photography at Savannah College of Art and Design.

During his time working on his degree, he participates in many events and works hard to promote his photography works. With less than a year from graduation, he plans to participate in fundraisers, exhibitions, and other artwork presentation platforms in order to show his works to the public and spread his messages.

Edge
Since ancient times, human beings have continuously given life to the land and civilization. We constantly create stories and memories in each land which has its own temperature and culture. Everything on the land experiences a cycle of weathering, squeezing, and accumulating, then they disintegrate, and reconstruct to irregular solids.

The project is based on my thoughts about the boundary between sea and land. The gravel in the soil is cracked by hitting each other under the lap of the waves, thus forming a new state. The minerals and gravel are brought back to the sea by the waves and become nutrients for microorganisms. The boundary between the sea and the land, that surges at all times but exists forever, is the birthplace of land and life. For me, that is also the end of human civilization.

I used the square composition of a medium format camera to metaphorically refer to the concept of 'time' in nature that only humans have. I pressed the shutter after a series of precise calculations, and each square perfectly framed the time and scenery of the moment. In order to let the negative and the seawater fully interact, I soaked the negative in the seawater took from the shooting location. So that the salt and minerals in the seawater are able to remain on the negative. During the development, sea salt and minerals that stay on the negative produce chemical reactions with chemistry and silver halides. Human intervention and uncertain chemistry allow the whole process to create a memory journey between the earth and the sea, human beings and nature. The final images fulfill the purpose of recreating memories of different times and spaces and making them eternal. They not only record the memory of the ocean for 4500 million years but also witness the vitality of everything and the inseparable connection between human beings and the earth.
 

Inspiring Portfolios

Call for Entries
AAP Magazine #59 Shapes
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Constantine Manos
United States
1934 | † 2025
Constantine "Costa" Manos (born 1934 in South Carolina) is a Greek-American photographer known for his images of Boston and Greece. His work has been published in Esquire, Life, and Look. He is a member of Magnum Photos. Manos first began taking photographs while in high school when he joined his school's camera club. Within a few years, he was working professionally as a photographer. At 19, Manos was hired as the official photographer for the Boston Symphony Orchestra at Tanglewood. His photographs of the orchestra culminated in 1961 with his first published work, Portrait of a Symphony. Manos graduated from the University of South Carolina in 1955, majoring in English Literature. He served in the military and then moved to New York City, working for various magazines. From 1961-64, Manos lived in Greece, photographing people and landscapes. This work resulted in A Greek Portfolio, published in 1972, which won awards at Arles and the Leipzig book fair. In 1963, Manos joined Magnum Photos and became a full member in 1965. After his time in Greece, Manos lived in Boston. In 1974, he was hired by the city to create the photographs for the Where's Boston? exhibition, a large production in honor of Boston's 200th anniversary. The photos from that exhibit were published in the book Bostonians: Photographs from Where's Boston? Manos also worked on projects for Time-Life Books. In 1995, American Color was published, containing Manos' recent photographs of American people. A Greek Portfolio was reissued in 1999, followed by a major exhibition of his work at the Benaki Museum of Athens. In 2003, Manos was awarded the Leica Medal of Excellence for his American Color photographs.Source: Wikipedia Constantine Manos was born in Columbia, South Carolina, U.S.A., of Greek immigrant parents. His photographic career began in the school camera club at the age of thirteen, and within several years he was a working professional. He graduated from the University of South Carolina with a B.A. in English Literature. At the age of nineteen he was hired as the official photographer of the Boston Symphony Orchestra at its summer festival at Tanglewood. Upon completion of his military service, he moved to New York, where he worked for Esquire, Life, and Look. His book, Portrait of a Symphony, a documentary of the Boston Symphony Orchestra, was published in 1961. From 1961 to 1963 he lived in Greece, where he made the photographs for his book A Greek Portfolio, first published in 1972. The book won awards at Arles and at the Leipzig Book Fair, and exhibitions of the work took place at the Bibliothèque Nationale de France in Paris and the Art Institute of Chicago. In 1963 Manos joined Magnum Photos. Returning from Greece, Manos settled in Boston and completed many assignments for Time-Life books, including their book on Athens. In 1974 he was the chief photographer for Where’s Boston?, a multimedia production that documented the city and provided the photographs for his book Bostonians. Manos’s photographs are in the permanent collections of the Museum of Modern Art, New York; the Museum of Fine Arts, Boston; the Art Institute of Chicago; the Bibliothèque Nationale de France, Paris; George Eastman House, Rochester, NY; the Museum of Fine Arts, Houston; and the Benaki Museum, Athens. In 2003 Manos was awarded the Leica Medal of Excellence for his pictures from American Color. Work from Manos’s ongoing work in color first appeared in his book American Color, published in 1995. The work continued in American Color 2, published in 2010. A new edition of A Greek Portfolio was published in 1999, accompanied by an exhibition at the Benaki Museum in Athens. In 2013 an exhibition commemorating the 50th anniversary of the making of the photographs for the book, including eighty unpublished pictures, was held at the Benaki.Source: constantinemanos.com As of 2014, he is currently working on a major retrospective book and exhibition that will include unpublished photographs dating from the start of his career.
René Groebli
Switzerland
1927 | † 2026
René Groebli (born October 9, 1927 in Zurich) is an exhibiting and published Swiss industrial and advertising photographer, expert in dye transfer and colour lithography. He grew up in the Enge district of the city of Zurich, where he attended the Langzeitgymnasium. After two years, he moved to the Oberrealschule, a science-oriented grammar school, but broke off this education after two years to begin an apprenticeship as a photographer with Theo Vonow in Zurich in 1944. When his teacher moved back to Graubünden, Groebli entered the preparatory course of the Zurich School of Applied Arts, attending from the spring of 1945. Subsequently, he enrolled in the renowned professional class for photography under the direction of Hans Finsler and Alfred Willimann until the summer of 1946. Amongst his fellow students were Ernst Scheidegger and Anita Nietz. In September 1946 Groebli began training as a documentary cameraman at Central Film and Gloria Film Zürich, graduating in late 1948 with a diploma, though he did not subsequently practice as a cinematographer. In 1947 he won third prize in a competition run by the monthly magazine Camera with his series Karussell. Freelancing for Victor-N. Cohen agency in Zurich, in 1948 Groebli made his first trip to Paris and in 1949 bought his first Leica. From 1949 Groebli worked as a photojournalist and carried out assignments for the Züri-Woche, and later in Africa and the Middle East for the London agency Black Star. The pictures were published in the magazines Life and Picture Post. His first small folio Magie der Schiene ('Rail magic') comprising 16 photographs (with front and back cover) was also shot in 1949 and self-published later the same year. It captures the ‘magic’ of steam train travel during the late 1940s. Despite being young and relatively unknown, Groebli was able to borrow enough money to finance the high-quality printing. Technically it is a portfolio rather than a book, with pages unbound and laid in loose, inspired by the Man Ray and Paul Éluard publication FACILE (1935) which he purchased on his first trip to Paris in 1948. Photographed with a Rolleiflex 6×6 and a Leica 35mm camera in and around Paris, as well as locations in Switzerland, the often motion-blurred and grainy images convey the energy of steam. An obi-band with German text was produced for the approximately 30 to 40 original preorders, and other copies sold without. He held his first solo exhibition with photographs from the book. He spent three months in Paris where he met Brassaï and Robert Frank and spent a month in London. On October 13, 1951 he and Rita Dürmüller (1923-2013) were married. A second slim picture book Das Auge der Liebe ('The Eye of Love'), self-published in 1954 through his business “Turnus”, was created in collaboration with his wife Rita Groebli. This small book, though respected for its design and photography, caused some controversy, but also brought Groebli attention. It was assembled from shots made on the belated honeymoon that the photographer and his wife Rita took over two weeks in Paris in 1952 and in the following year for a few days to Marseille, though publication of the photographs was not planned in 1953 Groebli sequenced it for a book, introducing a blank page to stand in for daytime in its chronology. In the Swiss Photorundschau, published by the Swiss Photographic Association, the editor Hermann König traded correspondence with a specialist teacher of the School of Applied Arts where the book had been passed around and argued over, the term "love" in the title being considered by students to be too sentimental given the obvious sexual connotations. Where the photographer’s intention was for a romantic effect, the editor admitted that the narrative was sexualized. In the leading periodical Neue Zürcher Zeitunghe, editor Edwin Arnet objected to the emphasis on nudity. Groebli sequenced his photographs to tell the story of a woman meeting a man in a cheap hotel. The last photograph shows the woman's hand with a wedding ring on her ring finger holding an almost finished post-coitus cigarette. In the perception of audiences of the era, the implication was that the woman had to be either an ‘easy woman’, a prostitute, or an unfaithful wife. However the U.S. Camera Annual review of the work in 1955 pronounced it "a tender photo-essay on a photographer’s love for a woman.” After the death of photojournalist Paul Senn in 1953 and the killing of Werner Bischof in Peru in 1954, Kurt Blum, Robert Frank and René Groebli were newly admitted to the Kollegium Schweizerischer Photographen. A major exhibition organized by the 'Kollegium' in 1955 convinced critics that a new "Swiss style" that was indeed moving towards Photography as Expression as the exhibition was titled, and the end of critical (later dubbed 'concerned') photography. However, the association was soon disbanded because of disagreements between Gotthard Schuh and Jakob Tuggener, and Groebli had by then relinquished photojournalism. In the same year, and with four other Swiss photographers, Werner Bischof, Robert Frank, Gotthard Schuh and Sabine Weiss, René Groebli was represented with a picture in the exhibition The Family of Man curated by Edward Steichen for the Museum of Modern Art in New York. His available-light photo shows a tight crowd of excited, dancing teenagers, their movement blurred in the style of Magie der Schiene. Groebli launched his own studio for commercial industrial and advertising photography in 1955 in the newly built residential and studio building in Zurich-Wollishofen. At the end of the 1950s, Groebli also had his home and studio converted and enlarged and in addition to two studios and two black and white labs, a dye transfer workshop with several laboratory workstations was added. In 1963 Groebli founded the limited partnership Groebli + Guler with lithographer Walter Guler, renamed 'Fotolithos' in 1968. The workplace in Zurich-Wollishofen was equipped with the latest and best technical facilities and through the 1960s and early 1970s the business employed a staff of up to twelve, with good profits made from servicing the advertising photography industry. After ten years producing specialist colour photography, dye transfer production and colour lithographs for commercial advertising and industrial photography, in 1965 Groebli published his third photo book Variation through Arthur Niggli Verlag, Teufen. It presented a retrospective of possibilities of Groebli’s colour photography, though with scant mention of the role of his many employees and business partners. In 1971 he issued a second edition Variation 2, with updated information on colour technology including Cibachrome. By the late 1970s, with the more widespread adoption and acceptance of chromogenic methods of colour production less technically demanding and cheaper than dye transfer, Groebli ceased commercial photography and colour production, sold his home and studio and retired, though he still maintained connections with the industry and presented a paper on dye transfer at the 1977 Rencontres d'Arles. Groebli returned to making personal photographic essays in colour and in black and white, in series titled Fantasies, Ireland, The Shell, Burned Trees, N. Y. Visions, New York Melancholia and Nudes. Over the decades of the turn of the century, he worked on his image archive and digitized the most important photographs that he had taken over a career of sixty years. Groebli currently resides in Switzerland.Source: Wikipedia
Arthur Leipzig
United States
1918 | † 2014
Arthur Leipzig (October 25, 1918 – December 5, 2014) was an American photographer who specialized in street photography and was known for his photographs of New York City. Leipzig was born in Brooklyn. After sustaining a serious injury to his right hand while working at a glass wholesaler, Leipzig joined the Photo League where he studied photography, took part in Sid Grossman's Documentary Workshop, taught Advanced Technique classes for three years, and exhibited his work. From 1942 until 1946 he was a staff photographer for PM. He also studied under Paul Strand before quitting the League to pursue a career as a freelance photojournalist. In 1955 Leipzig's 1943 photograph King of the Hill, depicting two little boys challenging each other on a sand heap, was selected by Edward Steichen for the world-touring exhibition The Family of Man at the Museum of Modern Art in New York, that was seen by 9 million visitors. Leipzig was a professor of art and the director of photography at the CW Post Campus of Long Island University from 1968–1991. In an effort to build his department and enhance the quality of photographic techniques, Leipzig recruited two well-known photojournalists, Louis Stettner and Ken Johnson (formerly a photo editor with Black Star) to his staff. He also recruited the now, highly regarded female photographer, Christine Osinski. Leipzig contributed his work to many publications including Fortune, Look, Parade, and Natural History, while continuing to pursue his independent projects. In 2004, he won the Lucie Award for Outstanding Achievement in Fine Art Photography. Leipzig died in Sea Cliff, New York on December 5, 2014, aged 96.Source: Wikipedia Leipzig shot thousands of rolls of film over five decades, producing beautifully constructed yet socially powerful photographs that take a sincere look at street life. Among the most memorable are photo essays on children’s street games, city workers atop the Brooklyn Bridge, Coney Island, and V-Day. Leipzig candidly captured New York’s favorite personalities as Louis Prima, W.C. Handy and Mayor La Guardia. His assignment locales outside of New York City included Peru, Sudan, and the Sahara, as well as places closer to home like West Virginia, Kansas and Jones Beach. Acclaimed as a sensitive and impassioned documentary photographer, Arthur Leipzig has always directed his camera toward the human condition and his deep love of people, shooting in a straightforward fashion, never forcing the moment but rather allowing a human story to transform simply and spontaneously. As a result, his photographs depict the human community with great intimacy and dynamic energy.Source: Howard Greenberg Gallery Arthur Leipzig's photography is represented in the permanent collections of The Museum of Modern Art, The Brooklyn Museum, The National Portrait Gallery, The Jewish Museum, and The Bibliothèque nationale de France. His solo exhibitions include Arthur Leipzig: a World View at the Howard Greenberg Gallery, Growing Up in New York at the Museum of the City of New York, Jewish Life Around the World at the Nassau County Museum of Fine Art.Source: Jackson Fine Art
Annick Donkers
Annick Donkers is a documentary photographer from Antwerp, Belgium. After obtaining a Master’s degree in Psychology, she decided to specialize in photography. She has received a grant from the Mexican Ministry of Foreign Affairs and was selected to participate in the Seminar on Contemporary Photography at the Centro de la Imagen in Mexico City (2008). Her work has been exhibited and published internationally. She was one of the winners at the Survival International Competition (2015), won an award at the San José Photo Festival in Uruguay (2016), the Sony Awards in UK (2016), the MIFA awards in Russia (2016), the IPA awards in USA (2016), the TIFA awards in Tokyo (2016), received an honorable mention at the Px3 Prix de la Photo in Paris(2016), was selected at Latin American Photography vol.5 (2016), on the cover of Dodho magazine (2016), shortlisted for the Kolga Tbilisi Awards and Athens Photo Festival (2017). She currently lives and works as a freelance photographer in Mexico City.About Lucha Libre Extrema The Lucha Libre Extrema series emerged from a growing interest I had in Mexican professional wrestling. I was soon drawn towards sub-genres of the sport such as Lucha Libre Exótica and Lucha Extrema. This semi-clandestine hardcore genre is currently prohibited in Mexico City because of how dangerous it is, but events still take place outside the capital, notably at a car wash-turned-arena in Tulancingo, the village where El Santo, Mexico’s most famous pro wrestler, was born. The participants receive professional training and are paid a little bit more because of the risks they take. They perform with a variety of weapons: chairs, thumbtacks, wire, and fluorescent lights, turning the ring into a war zone. Yet the community of luchadores “extremos” is closely knit and few outsiders have gained access. Mexico has been a very violent place in recent years. As such, I found it fascinating that people were drawn to the dangerous world of Lucha Libre Extrema and turned my camera to the audience in an attempt to understand their reasons. About Afromexican HealersAt the end of last year my attention was drawn to the coastal region of Guerrero known as Costa Chica, located to the south of Acapulco. This region is home to Mexicans descended from African slaves that identify themselves as being “black”. But outside this region they are little-known and they are currently fighting to be officially recognized by the Mexican State. The Costa Chica is also a place rooted in traditional beliefs that include appearances of trolls, the devil and spirit animals. The legend tells that when a baby is born, a member of the family brings the child to a crossroads up in the mountains where lots of wild animals pass by. The first creature to approach the child will be the child's spirit animal, or tono in Spanish, since there is now a dependency created between child and animal. This means that when the animal is hurt, wounded or dies, the person is too. In the Afromexican communities there are healers that will cure these "animal"-related illnesses, since conventional medicine will not work in these cases. The person is cured with herbs selected by the healers and also according to the needs of the animal. They call these healers curanderos del tono and there are only a small number of them left. I went to the Costa Chica region in an attempt to capture what remains of this Afromexican tradition.
Anthony Goicolea
United States/Cuba
1971
Anthony Goicolea is a New York-based fine art photographer. Goicolea's photographs frequently deal with issues of androgyny, homosexuality, and child sexuality. Goicolea, Cuban-American and gay, was educated at the University of Georgia and studied painting, photography, and sculpture at that institution. He holds an MFA in fine arts from the Pratt Institute. He made his debut in 1999, and now shows work with Postmasters gallery in New York and Aurel Scheibler in Berlin, Germany. In 2005, he received the BMW-Award for Photography. Some of his work features photographs of "pre- to barely pubescent boys" (Art in America, Dec, 2001) in elaborately staged tableau settings, commonly showing multiple boys wearing traditional private school uniforms either engaged in school-life or recreation after school — but with often transgressive and erotic twists in their activities. Of great interest in these compositions is the fact that Goicolea himself portrays all of the boys in his photographs through the astute use of costumes, wigs, make-up, and post-production editing via the software Adobe Photoshop; "always looking uncannily like a boy on the edge of puberty" (The Advocate, August 14, 2001). Therefore, despite having numerous figures in them, Goicolea's photographs are actually very complex large-scale self-portraits, and are always done in a flawlessly realist manner. The pioneering fine-art photographer Cindy Sherman is an apparent influence on Goicolea's work, given her own extensive use of self-portraits and emphasis on sexually-charged narrative topics. Sherman and Goicolea have also had several joint exhibitions. His work can be strongly compared to similar manipulated and/or staged art photography featuring children and adolescents, such as that of Bernard Faucon, Loretta Lux, and Justine Kurland. Recently, Goicolea has also been producing and exhibiting his drawings, which follow much of the same subject matter as his photographs. He has also published several books. Goicolea is also represented by Gow Langsford Gallery based in Auckland, New Zealand.Source Wikipedia
Advertisement
AAP Magazine #59 Shapes
Win a Solo Exhibition in July
AAP Magazine #59 Shapes

Latest Interviews

Exclusive Interview with Susan Anthony
American photographer Susan Anthony brings a painter’s eye to documentary photography, creating nuanced portraits of people and places shaped by time, community, and tradition. Her work is rooted in observation, empathy, and a deep curiosity about the lives of others. Through long-term projects, she explores the relationship between individuals and the environments they inhabit, revealing the stories that connect people to a place and to one another.
Exclusive Interview with Carole Mills Noronha
Carole Mills Noronha is an Australian photographer whose deeply personal work explores memory, family, loss, and the fragile nature of identity. Living with epilepsy and a lifelong sensitivity to light, she has developed a distinctive photographic language rooted in observation, empathy, and emotional connection. Her images are shaped by lived experience, revealing intimate stories with remarkable honesty and tenderness.
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Call for Entries
Win A Solo Exhibition in July
Get International Exposure and Connect with Industry Insiders