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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Phil Penman
Phil Penman
Phil Penman

Phil Penman

Country: United Kingdom/United States

The British-born, New York-based photographer Phil Penman has documented the ever-changing scene of New York City’s streets for more than 25 years. In his career as a news and magazine photographer, with a large body of work in such publications as The Guardian, The Independent, The New York Review of Books, among others, he has photographed major public figures and historical events. In particular, his reportage following the September 11, 2001 terrorist attack on the World Trade Center has featured on NBC’s Today show, as well as on the BBC, History Channel, and Al Jazeera, and his images have been included in the 9/11 Memorial and Museum’s archives.

His work covering the pandemic lockdown in New York City has been acquired by the U.S. Library of Congress, whose collection holds work by such great Depression-era documentarians as Walker Evans and Dorothea Lange. Besides showing at Leica galleries in New York, Washington, D.C., Boston, and London, Penman’s signature street photography has appeared in international exhibitions as far afield as Venice, Berlin, and Sydney.

He also tours the world teaching workshops on photography for Leica Akademie. He was recently named among the “52 Most Influential Street Photographers,” alongside such legends as Henri Cartier-Bresson, Sebastião Salgado, Diane Arbus, and Garry Winogrand. Penman’s first book, Street, published in 2019, became a best-seller and was featured at the Museum of Modern Art in New York.

New York Street Diaries
Phil Penman shows the big city on the east coast of the USA from a side that is rarely seen, calm and tranquil. The pictures were taken partly during the great snowstorm and partly during the Corona Lockdown and are thus contemporary witnesses of the pandemic restrictions that completely turned our previously-known world upside down. Born in Great Britain (Poole, Dorset), he has been photographing the streets of New York for well over two decades. He is known, among other things, for his photographs of famous personalities such as Michael Jackson, Madonna, Jennifer Lopez or Bill Gates. When the biggest tragedy in New York's history shook the city on 11 September 2001, Phil Penman was on the spot and created unique footage of the events with his camera.

Penman knows how to capture the city in its most sensitive moments in an impressive way. He catches intimate moments in his black-and-white photographs and shows the people and streets of New York City far away from the hustle and bustle. The city life of the metropolis is presented so closely that some pictures inevitably evoke a smile in the viewer. Penman literally catapults his viewer into the scene with a refreshing directness and the feeling of really being present.
New York Street Diaries
 

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More Great Photographers To Discover

Adam Neuba
Germany
Natural scientist, photographer, artist. Adam's artistic style and photographic sensibility have emerged from his inquisitive and exploratory creative process, whereby the medium of light and its effect on the motif is always at the focus of his artistic work. Through hours of planning and manual work, with the greatest care and attention to detail, he creates macroscopic artworks of living creatures in unity with technical components, of motifs from inanimate nature and, for some time now, he has been interested in compositions of metals with their unusual interplay with the medium of light. Numerous of his pictures have been published in national and international magazines in recent years, presented at festivals and awarded photography prizes worldwide. When nature meets technics - A macroworld beyond everyday experience This seemingly insurmountable contrast between nature and human technology has occupied me as a photographer for several years. Especially the mutual influence of stainless steel and other materials on small creatures fascinates me. With my photography i try to present this ‘nature versus technology’ contrast to the beholder and dissolve it photographically at the same time, so that the ultimate result of every composition is an aesthetically harmonious unity. With every image the beholder steps into a visionary space, in which a short story about a living being from our engineered environment is told and where, in the end, the two worlds merge into a unique entity. During this process, images arise which possess an aesthetic and a manner of expression of a novel kind, and thereby enable the beholder to partake in a novel emotional experience. Awarded Photographer of the Week - Week 26
MG Vander Elst
Belgium/United States
1967
Raised In Antwerp, Belgium, MG Vander Elst is a Fine Art Photographer and holds a Certificate of Photography from The Portfolio Center in Atlanta, Ga. She worked as a photographer’s assistant in NYC and developed her Portraiture work which later expanded to include, still life, abstract and landscape work. Art was all around her growing up in Antwerp, where she regularly visited the Ruben’s house, studied the Dutch Masters, and shared her parents love for Modern Art. The light, gesture and intimacy of the Dutch masters and the minimalism of modernists still influence her work. MG’s fine art photography approach is intuitive, stemming from an idea or an emotion. Whether photographing landscape, florals or abstracts she tries to make visible what is invisible, pursuing that intimate moment between inhale and exhale. Statement MG’s latest work in florals, still life and abstract work all stem from the same place, a place of loss, identity and forging ahead. Letting go "Floral images are my new center, I use flowers that I encounter in my neighborhood and local shops, it is no surprise to learn that these flowers embody the range of emotions I have been going through, like remembrance, growth, healing, refuge, and love. Through this process I am learning that photographing the simple lines and daintiness of these flowers they become an exercise in form, in juxtapositions and in letting go. In closely observing the shifting shapes of these living forms, who then transition, mature, and wilt I witness the contrasting paradox in beauty when blossoming or dying combined with their shaggy stalk and the petal’s ethereal texture which generates this visual dissonance that captivate me. I am not frozen and no longer afraid, but instead I am finding a rise of energy in this newfound freedom of moving in a place I have never been." Finding my Way "At the onset of the Pandemic, I lost my mother, simultaneously, my eldest son was preparing to leave for college. With the loss of my mother, I became the adult, the matriarch. The guidance I trusted and the intimacy I relied on was gone, that comfort of being the child vanished. With the anticipation of my son’s departure, I was thrusted into an uncharted emotional landscape, one where I felt undefined as a mother and did not know how to move forward. So, returning to myself and turning the camera onto my body is my way forward. By abstracting my body, I examine the shapes and textures of my form; in this pause, I am able to explore and chart my new emotional landscape. This way I am relearning who I am in order to know where I am going." Conformity "When I am creating still life’s in my own domestic spaces or in my studio. I am asking questions about my life today, as a woman, as mother and as a spouse. Whose ideas about myself am I conforming to? Why do I possess a pink razor, Is this herbal tea really soothing me? By calling attention to the everyday mundane possessions, we surround ourselves with, my intention is clear from the start. In certain instances, I juxtapose them with random objects, or I deliberately leave them by themselves. But by posing these objects in specific places I am adding a tension to the image and the one-dimensional image becomes a multi-dimensional exploration of the time we live in. I am making room for consideration, focusing on what that object means to us and what it evokes in us and why we surround ourselves with it. I aim to create a pause." AAP Magazine: AAP Magazine 26 Shapes Article Silences
Mike Brodie
United States
1985
Claiming inspiration from “old-school American values mixed with a little punk-rock idealism,” Mike Brodie, aka The Polaroid Kidd, hopped trains across the U.S. for seven years, documenting his friends, lovers, and travels with a Polaroid and a 35-millimeter camera and amassing a critically acclaimed body of images. Like a 21st-century Jack Kerouac, replacing pen with pictures, Brodie rode the railways with a motley crew. In 2004, two years into his journeying, he acquired a camera and began photographing this gritty youth subculture. His intimate portraits, saturated with color and often set against moving backgrounds, capture the reality of this life in raw detail—its dirt-encrusted bodies, sickness and exhilaration, dangers and comforts. After traveling more than 50,000 miles through 46 states, Brodie has since become an itinerant mechanic. He says he has abandoned photography—at least for now. Source: Artsy Mike Brodie, best known by his pseudonym "Polaroid Kidd", is a self-trained American photographer from Pensacola, Florida. In 2003 Brodie left home at 18 to travel the rails across America. A friend gave him a camera and he found himself spending three years photographing the friends and companions he encountered with the Polaroid SX-70. Polaroid discontinued SX-70 film, so now he shoots on 35mm on a Nikon F3. His photographs have been featured in exhibits in Milwaukee, at Get This! Gallery in Atlanta and in Los Angeles at M+B Gallery. His work was also selected to appear in the 2006 edition of the Paris International Photo Fair at the Louvre. In November 2007 he collaborated with Swoon and Chris Stain to mount an installation at Gallery LJ Beaubourg in Paris. He also has had collaborative shows with artist Monica Canilao. His photographs largely depict what he refers to as "travel culture", train-hoppers, vagabonds, squatters and hobos. Critic Vince Aletti of artsandantiques.net says of Brodie's work: "Even if you're not intrigued by Brodie’s ragtag bohemian cohort—a band of outsiders with an unerring sense of post-punk style—the intimate size and warm, slightly faded color of his prints are seductive. His portraits... have a tender incisiveness that is rare at any age." Source: Wikipedia Born in 1985, Mike Brodie began photographing when he was given a Polaroid camera in 2004. Working under the moniker 'The Polaroid Kidd,' Brodie spent the next four years circumambulating the United States, amassing an archive of photographs that make up one of the few, true collections of American travel photography. Brodie made work in the tradition of photographers like Robert Frank, William Eggleston and Stephen Shore, but due to never having undergone any formal training he always remained untethered to the pressures and expectations of art market. Brodie compulsively documented his exploration of the tumultuous world of transient subcultures without regard to how the photographs would exist beyond him. After feeling as though he documented all that he could of his subject, his insatiable wanderlust found a new passion, and as quickly as he began making photographs, he has left the medium to continue in his constant pursuit of new adventures. In 2008, Brodie received the Baum Award for American Emerging Artists and has a forthcoming book to be published by Steidl, as well as numerous international shows. Brodie recently graduated from the Nashville Auto Diesel College (NADC) and is now working as a diesel mechanic. Although Brodie has stopped making photographs, the body of work he made in only four short years has left a huge impact on the photo world, and is now being made available to the public. Source: M+B
Ryotaro Horiuchi
Ryotaro Horiuchi was born in Tokyo in 1969. When he was a teenager, he started to work at the furniture studio as an assistant. During his time at the studio, he was asked to take photographs of furniture as its records. And that was the first time he felt his intention to focus on a thing in front of his eyes ''Through The Lends''. And that ''intention'' turned him into ''photo-holic'' by realizing the potential of photographs. Since then, he has been working on his works from Osaka University of Arts and while he was in Germany and till now. Now he is working with ''Descendants of Samurai'' and ''Roma Gypsy'' by taking their portraits. To do so, he keeps focusing on ''the identity'' of them and himself. Falling Waters When I faced the waterfall, my eyes were riveted on the falling waters. The waters kept changing and never became the same figure. I saw the vitality in its overwhelming energy. The waters looked so alive that I felt as if I were photo shooting creatures. These are not scenic photos but portraits of waterfalls. The waters kept moving vigorously with a roaring sound, however, I loved the silence behind it. Quiet Existence I have relatives who emigrated to a foreign country under a state-led migration policy during the pre-war period. They live as minorities in the country. Hearing stories about them as I grew up made me fascinated with people who are defined as minorities. When I was staying in Germany, I later learned that the people who had been closed to me were Roma. I had absolutely no knowledge about Roma at that time and their lifestyle looked just so mysterious to me. Since then, I had been drawn to their strong identity and I visited the area where many Romani people live. I met many other ethnic groups of people who live as minorities there. When I faced their lifestyles, I could see their quiet yet strong identity behind them, which strongly resonated with me. It might be impossible for minorities to maintain their culture without keeping their strong identity. What is identity? The question always makes me ask myself what kind of individuality I retain. Discover Descendants of Samurai
Guy Le Querrec
Guy Le Querrec (born 1941 in Paris, France) is a French photographer and filmmaker, noted for his documentary images of jazz musicians. He is a member of Magnum Photos. Le Querrec took his first photographs as a teenager using a basic Fex/Indo Ultra-Fex, buying second hand soon after another and more sophisticated bakelite 6 x 9 cm Photax camera, in 1955. He shot his first pictures of jazz musicians in London in the late 1950s. After having served in the army, he became a professional in 1967, and then worked as a picture editor and photographer for Jeune Afrique magazine, working in francophone Africa, including Chad, Cameroon, Niger, and the Central African Republic. In 1971 he gave his archives to Agence Vu, founded by Pierre de Fenoyl and then co-founded Viva (photo agency). In 1976, he left Viva and joined Magnum Photos. In the late 1970s he began directing films, working with Robert Bober. In 1983 at the Rencontres d'Arles he experimented with projecting images while a jazz quartet played. Besides having photographed numerous jazz festivals and African subjects, Le Querrec has traveled to China and documented American Indians. He has documented Villejuif, a suburb of Paris, as well as the Carnation Revolution in Portugal. He has also taught many photography workshops in France.Source: Wikipedia Le Querrec underlines the necessity of “being able to forget oneself,” to capture the magic instant, the unusual attitude of a subject, or the singular light of a moment. “I search every cranny, as did the Italian footballer Pippo Inzaghi,” he says, comparing himself to the legendary Juventus and AC Milan striker who scored 317 goals in his career. “He was an expert in the art of placement, a cunning ‘fox in the box’.” This approach is perhaps best illustrated by his iconic image of Miles Davis on stage in Pleyel on November 3, 1969. “I strove to anticipate his movements, which is how I found myself at the right place and time when he froze in a beam of light radiating from the floor, which illuminated him at low-angle and projected his shadow onto the curtains. That’s how Miles passed fluidly from the harsh and flat stage light to a sophisticated sculptural illumination, which accentuated his peculiar and fascinating beauty and highlighted the depth of his gaze – qualities that also describe his musicianship.” A jazz fan since his teens, Le Querrec, being the jocular wordsmith that he is, likes to recall that his passion for what he describes as “the most popular of erudite music” came to him in the discotheque of accordion-player Gus Viseur’s father – viseur being the French word for viewfinder… As the Italian saying goes, se non è vero è ben trovato! The fact is, he stays tuned into the music as he works. “I don’t cut out sound.” For that reason it has been said that his eye listens. “His indisputable success in the attempt to reveal the true intimacy of jazz is owed to his inordinate passion that borders on empathy,” points out Stéphane Ollivier in the preface to Jazz Comme Une Image, 10 Ans de Banlieues Bleues (Jazz as Image, 10 Years of Blue Banlieues), Scandéditions, 1993. Consulting the work that Guy Le Querrec produced over a decade during that major festival means finding the entire history of contemporary jazz, in action, on stage, in this part of the Seine Saint-Denis department. But it is also – and most importantly – like breaking into the backstage, the wings or the green rooms of the musicians, of Dizzy Gillespie, Ray Charles, Ornette Coleman, Nina Simone, Henri Texier, Michel Portal…. It’s not about voyeurism, but rather about witnessing the complicity and bond that generated the spontaneous expression we call jazz. Le Querrec explains, “What impels me to shoot is my curiosity for their idiosyncrasies, their ways of being, their behaviors, their stories: their dialogue with life.” Deeply concentrated with his trusty and silent Leica, he tenaciously takes “a fragment of reality from the passage of time.” He acknowledges that “photography is like fishing: it’s usually when you are about to take off that the fish takes the bait.” That’s when it becomes necessary to seize chances. “We try so much to look for chance that it escapes us.” In this sense, Le Querrec considers his work in the world of jazz as presenting similarities to much of the work he has created at Magnum, since joining in 1976: in his work with Breton families, indigenous communities in North America or even his photographs of François Mitterrand posing for a sculpture in the Elysée Palace in Paris. “I have never tried to separate subjects when I move amongst them, and I ask my eye to do the same. I want my photography to carry a scent – the scent of people.” This is an attitude, or rather, a philosophy that brings the musician Louis Sclavis, a clarinetist, saxophonist, and long-time friend to define Le Querrec as follows: “He is not a photographer of jazz, he is a jazz photographer.”Source: Magnum Photos
Philip Jones Griffiths
Wales
1936 | † 2008
Born in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. One of the most detailed surveys of any conflict, Vietnam Inc. is also an in-depth document of Vietnamese culture under attack. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’. Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement. Philip Jones Griffiths died at home in West London on 19th March 2008From en.wikipedia.orgJones Griffiths was born in Rhuddlan, to Joseph Griffiths, who supervised the local trucking service of the London, Midland and Scottish Railway, and Catherine Jones, Rhuddlan's district nurse, who ran a small maternity clinic at home. He studied pharmacy in Liverpool and worked in London as the night manager at the Piccadilly branch of Boots, while also working as a part-time photographer for the Manchester Guardian. His first photograph was of a friend, taken with the family Brownie in a rowboat off Holyhead. Jones Griffiths never married, saying it was a "bourgeois" notion, but that he had had "significant" relationships. Survived by Fanella Ferrato and Katherine Holden, his daughters from long-term relationships with Donna Ferrato and Heather Holden. He died from cancer on March 19, 2008. Journalist John Pilger wrote in tribute to Griffiths soon after his death: "I never met a foreigner who cared as wisely for the Vietnamese, or about ordinary people everywhere under the heel of great power, as Philip Jones Griffiths. He was the greatest photographer and one of the finest journalists of my lifetime, and a humanitarian to match…. His photographs of ordinary people, from his beloved Wales to Vietnam and the shadows of Cambodia, make you realise who the true heroes are. He was one of them." Griffiths started work as a full-time freelance photographer in 1961 for the Observer, travelling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected his view of the war as an episode in the continuing decolonisation of former European possessions. However, he was eventually able to get a scoop that the American outlets liked: photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds from these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. Vietnam Inc. had a major influence on American perceptions of the war, and became a classic of photojournalism. The book was the result of Griffiths' three years work in the country and it stands as one of the most detailed surveys of any conflict, including descriptions of the horrors of the war as well as a study of Vietnamese rural life and views from serving American soldiers. Probably one of its most quoted passages is of a US army source discussing napalm: ‘We sure are pleased with those backroom boys at Dow. The original product wasn’t so hot - if the gooks were quick they could scrape it off. So the boys started adding polystyrene - now it sticks like shit to a blanket. But if the gooks jumped under water it stopped burning, so they started adding Willie Peter (white phosphorus) so’s to make it burn better. And just one drop is enough, it’ll keep on burning right down to the bone so they die anyway from phosphorus poisoning.’ The South Vietnamese president, Nguyen Van Thieu, criticized Griffiths' work, remarking "Let me tell you there are many people I don't want back in my country, but I can assure you Mr. Griffiths name is at the top of the list." In 1973, Griffiths covered the Yom Kippur War. He then worked in Cambodia from 1973 to 1975. In 1980, he became the president of Magnum, a position he then held for five years. In 2001 Vietnam Inc. was reprinted with a foreword by Noam Chomsky. Subsequent books have included Dark Odyssey, a collection of his best pictures, and Agent Orange, dealing with the impact of the US defoliant Agent Orange on postwar generations in Vietnam. After becoming aware of his terminal condition, Jones Griffiths launched a foundation to preserve his archives. His daughters helm the foundation, which as of July 2008 lacked a permanent home. Source: www.magnumphotos.com
Maynard Switzer
Maynard Switzer was born in Los Angeles and is a professional freelance travel and documentary photographer. He is a graduate of the Art Center College of Design in Pasadena and a former assistant to legendary photographer Richard Avedon. He has taught at the International Center of Photography in New York City and has written many magazine articles about travel photography. His love of foreign cultures and their fascinating customs has been the main catalyst for Maynard’s photography around the globe. Maynard has had his photography published in National Geographic Traveler Magazine, Geo Magazine, Afar Magazine and the prestigious Fine Art Spanish Magazine Art Fotografico. Statement There are approximately 195 independent countries in the world and an estimated 6,800 different languages spoken, and often times there is a breakdown in communication. Some caused by language barriers, other times lost or inadequate translation and sometimes a woeful attempt at hand signals. However, images are universally understood. The cliché "a picture is worth a thousand words" certainly rings true. Pictures speak a thousand words to a thousand different people in a thousand different ways. This global understanding has been the main reason that I have been documenting various cultures around the world. Over the past 20+ years I have concentrated on photographing people and their various ways of life that seem to have been left behind by the world's rush to modernize. Certain aspects of these various cultures seem to be in a time warp, many within their own country. The photographs presented here are part of a long-term project photographing some of these people that live and work in challenging environments that time seems to have forgotten and whose way of life may never be seen again.
Mitch Epstein
United States
1952
Mitchell Epstein (born 1952) is an American fine-art photographer, among the first to make significant use of color. Epstein's books include Sunshine Hotel (2019), Rocks and Clouds (2018), New York Arbor, (2013) Berlin (2011); American Power (2009); Mitch Epstein: Work ( 2006); Recreation: American Photographs 1973-1988 (2005); and Family Business (2003), which won the 2004 Kraszna-Krausz Photography Book Award. Epstein's work has been exhibited and published extensively in the United States and Europe, and collected by numerous major museums, including New York's Museum of Modern Art and Whitney Museum of Art, The J. Paul Getty Museum in Los Angeles, the San Francisco Museum of Modern Art, and the Tate Modern in London. He has also worked as a director, cinematographer, and production designer on several films, including Dad, Salaam Bombay!, and Mississippi Masala. Epstein was born and raised in a Jewish family in Holyoke, Massachusetts. He graduated from Williston Academy, where he studied with artist and bookmaker Barry Moser. In the early 1970s he studied at Union College, New York; Rhode Island School of Design, Rhode Island, and the Cooper Union, New York, where he was a student of photographer Garry Winogrand. By the mid-1970s, Epstein had abandoned his academic studies and begun to travel, embarking on a photographic exploration of the United States. Ten of the photographs he made during this period were in a 1977 group exhibition at Light Gallery in New York. In 1978, he journeyed to India with his future wife, director Mira Nair, where he was a producer, set designer, and cinematographer on several films, including Salaam Bombay! and India Cabaret. His book In Pursuit of India is a compilation of his Indian photographs from this period. From 1992 to 1995, Epstein photographed in Vietnam, which resulted in an exhibition of this work at Wooster Gardens in New York, along with a book titled Vietnam: A Book of Changes. “I don’t know that Mitch Epstein’s glorious photographs record all of what is salient in end-of-the-twentieth century Vietnam,” wrote Susan Sontag for his book jacket, “for it’s been more than two decades since my two stays there. I can testify that his images confirm what moved and troubled me then… and offer shrewd and poignant glimpses into the costs of imposing a certain modernity. This is beautiful, authoritative work by an extremely intelligent and gifted photographer.” Reviewing an exhibition of the Vietnam pictures for Art in America, Peter Von Ziegesar writes, “In a show full of small pleasures, little prepares one for the stunning epiphany contained in Perfume Pagoda… Few photographers have managed to make an image so loaded and so beautiful at once.” Having lived and traveled beyond the United States for over a decade, Epstein began to spend more time in his adopted home of New York City. His 1999 series The City investigated the relationship between public and private life in New York. Reviewing The City exhibition at Sikkema Jenkins in New York, Vince Aletti wrote that the pictures “[are] as assured as they are ambitious.” In 1999, Epstein returned to his hometown of Holyoke, Massachusetts, to record the demise of his father's two businesses—a retail furniture store and a low-rent real estate empire. The resulting project assembled large-format photographs, video, archival materials, interviews and writing by the artist. The book Family Business, which combined all of these elements, won the 2004 Krazna-Kraus Best Photography Book of the Year award. In 2004, his work was exhibited during evening screenings at Rencontres d'Arles festival, France. From 2004 to 2009, Epstein investigated energy production and consumption in the United States, photographing in and around various energy production sites. This series, titled American Power, questions the meaning and make-up of power—electrical and political. Epstein made a monograph of the American Power pictures (2009), in which he wrote that he was often stopped by corporate security guards and once interrogated by the FBI for standing on public streets and pointing his camera at energy infrastructure. The large-scale prints from this series have been exhibited worldwide. In his Art in America review, Dave Coggins wrote that Epstein “grounds his images… in the human condition, combining empathy with sharp social observation, politics with sheer beauty.” In the New York Times, Martha Schwendener wrote: “What is interesting, beyond the haunting, complicated beauty and precision of these images, is Mr. Epstein's ability to merge what have long been considered opposing terms: photo-conceptualism and so-called documentary photography. He utilizes the supersize scale and saturated color of conceptualism, and his odd, implied narratives strongly recall the work of artists like Jeff Wall.” In 2008, Epstein won the Berlin Prize in Arts and Letters from the American Academy in Berlin. Awarded a 6-month residency, he moved to Berlin with his wife and daughter from January to June 2008. The photographs he made of significant historical sites were published in the monograph Berlin (Steidl and The American Academy in Berlin, 2011).Source: Wikipedia In 2013, the Walker Art Center in Minneapolis commissioned and premiered a theatrical rendition of Epstein’s American Power photographic series. A collaboration between Epstein and cellist Eric Friedlander, the performance combined original live music, storytelling, video, and projected photographs and archival material. Epstein and Friedlander also performed at the Wexner Center for the Arts, Ohio (2014), and the Victoria and Albert Museum, London (2015). His new series, Property Rights, was exhibited at Sikkema Jenkins & Co., New York and Galerie Thomas Zander, Cologne in the fall of 2019 and at the Amon Carter Museum of American Art in Fort Worth, Texas in 2020-2021. Recent solo exhibitions include: Multimedia Art Museum, Moscow (2020), Museum Helmond, Netherlands (2019), Andreas Murkudis, Berlin; Yancey Richardson Gallery, New York; Galerie Les Filles du Calvaire, Paris (2016-17); as well as Fondation A Stichting in Brussels (2013); Sikkema Jenkins & Co., NY (2012); Galerie Thomas Zander, Cologne (2012); Fondation Henri Cartier-Bresson, Paris (2011); Kunstmuseum Bonn (2011); and Musee de l'Elysee in Lausanne (2011). In 2020, Mitch Epstein was inducted as an Academician to the National Academy of Design. In 2011, Epstein won the Prix Pictet for American Power. Among his other awards are the Berlin Prize in Arts and Letters from the American Academy in Berlin (2008), and a Guggenheim Fellowship (2003).Source: mitchepstein.net At Cooper Union, Epstein was a student of photographer Garry Winogrand and was influenced both by Winogrand and William Eggleston's use of color. Epstein helped pioneer the redefinition of color photography as art form, as he was one of the earlier practitioners of fine-art color photography. He is well known for documenting his projects as books, which he feels allows him to form a narrative structure for his photographs. Epstein shoots film, as he believes he would not get the tonal rendering and detail for his large prints if he were to use digital.Source: International Center of Photography
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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.
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.
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.
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.
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.
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