All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL CALL TO ENTER AAP MAGAZINE WOMEN: GET PUBLISHED AND WIN $1,000
FINAL CALL TO ENTER AAP MAGAZINE WOMEN: GET PUBLISHED AND WIN $1,000
  1. Home
  2. All Photographers
  3. Rising Photographers
  4. Joaquín Pastor Genzor
Joaquín Pastor Genzor
Joaquín Pastor Genzor
Joaquín Pastor Genzor

Joaquín Pastor Genzor

Country: Spanish
Birth: 1993

Joaquín Pastor Genzor is a young emerging Spanish street photographer who started photographing the streets of Zaragoza, his hometown, at the end of 2019. Although he studied a degree in photography and lighting, he has always been self-taught.

He also studied graphic design and integrated the basic principles of audiovisual communication and colour theory. He discovered his passion for the aesthetics of image and the sense of beauty by participating in the shooting of several short films.

Joaquín explores his city with his camera and cultivates his taste for careful compositions using the natural lighting to create an authentic ocean of emotions where stillness and reflection are the author’s signature.

His work is the result of the exigency and patience when it comes to working the scene and waiting for the desired subject at the right moment. As a result, he is able to convey so much with very little.

He has always liked to communicate and offer the world an alternative vision of the way human beings live, relate and think. His photographs are a clear reflection of the above.

He has founded Sublime Street, a street photography hub that shares the best street photographs from around the world. It was created to inspire others and give visibility to new talents.

Statement
Don't talk about your work, let your work speak for you.

Websites

joakkin.com

@joakkin_street

 

Inspiring Portfolios

Aline Smithson
© Aline Smithson
Lydia Panas
© Lydia Panas
Grace Weston
© Grace Weston
Call for Entries
AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
© Cnstance Jaeggi
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Oliver Curtis
Oliver Curtis
United Kingdom
1963
Brought up in the Cotswolds, Curtis began his photographic education studying photography at the renowned course at Filton Technical College in Bristol. He went on to study film and television at the London College of Printing and has been balancing work in stills and moving image ever since. Curtis continues to produce stills portraiture for major broadcasters as well as generating his own projects for exhibition and publication. He sites as key influences William Eggleston, Saul Leiter and Paul Graham. He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner's The Wedding Date, Frank Oz's Death At A Funeral and Joanna Hogg's Unrelated as well as experimental gallery-based installations such as Gideon Koppel's Borth. He remains in great demand worldwide shooting commercials for high profile clients such as Pantene, L'Oreal, La Perla, Ferragamo, Palmolive, Rimmel, Coca Cola, Sony, Guinness, Canon and Cadbury's. About Volte-Face: On visiting the Pyramids of Giza in Cairo in 2012, Oliver Curtis turned away and looked back in the direction he had come from. What he saw fascinated him so much that he has since made a point of turning his back on some of world's most photographed monuments and historic sites, looking at their counter-views and forgotten faces. Taken over a period of four years, Volte-face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to send our gaze elsewhere and to favour the incidental over the monumental... Curtis feels that despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction. The camera lens effectively acts as a nodal point and, by giving the photograph the title of the unseen partner, this duality becomes a virtue. Volte-face will be published by Dewi Lewis featuring an essay by Geoff Dyer: https://www.dewilewis.com/collections/new-titles/products/volte-face The first exhibition of the Volte-face project was held at the Royal Geographical Society in London, Sept 2016. The collection has received a great deal of acclaim worldwide and has featured in the Financial Times Magazine (UK), NPR Radio New Hampshire (USA), Liberation (France) Wired.com and BBC World Update amongst many others.
Jill Greenberg
Jill Greenberg
United States
1967
Jill Greenberg is an American photographer and Pop artist. She was born in Montreal, Quebec, Canada, and grew up in a suburb of Detroit, Michigan. Greenberg began photography when she was 9 years old. According to a 1998 New York Times article, Greenberg's mother was a computer programmer and her father was a doctor. Greenberg took classes at Cranbrook Academy of Art and the Detroit Institute of Arts. In 1984, she attended the Photography Summer Session held by Parsons School of Design in Paris. In 1985, she won a Traub Memorial Scholarship Travel Fund from Andover High School in Bloomfield Hills, Michigan. In 1988, Greenberg completed coursework on Semiotics in Media with Mary Ann Doane at Brown University. In 1989, she graduated with honors from the Rhode Island School of Design with a BFA in Photography. She is known for her portraits and fine art work that often features anthropomorphized animals that have been digitally manipulated with painterly effects. Her photography of animals is regarded for its capability to show a wide range of expressions and feelings that are comparable to that of a seasoned actor or actress. Some of the primates she has captured on film are actually celebrated in their own right, having been featured in different TV shows or movies. She is also highly recognized for her distinct, and stylized photography of celebrities including well-known performers such as Gwen Stefani, Arnold Schwarzenegger and Clint Eastwood. She is also known for inserting her own strong opinions into her work. In reference to her work, Greenberg states "They're portraits and they're personal but there's a little twist going on. An edge." In 1992, Greenberg began working for Sassy magazine, doing commercial photography while working on getting her artistic career off the ground. Greenberg is known for celebrity portraits, using painterly effects that are drawn using computer technology. 2011's Glass Ceiling series involved shooting underwater, using scuba gear. She hired professional synchronized swimmers and photographed them in a pool in Culver City. The Glass Ceiling series was featured as a billboard installation in Los Angeles, on the northwest corner of Sunset Boulevard at Fairfax (viewable while driving east). In October 2012, Greenberg published a book of photographs called Horse that features images of horses. Greenberg built photo studios within horse rings to take the photographs. The shooting took place in Los Angeles in an area called Walker's Basin and also in Vancouver at Danny Virtue's ranch, a man who supplies horses to the film industry. In January 2014, Greenberg had an exhibition in Canada of images from Horse In August 2008, The Atlantic asked her to photograph John McCain for the magazine's October 2008 cover. Greenberg said they didn't have enough money to pay her so she gave them a license to use one of her photos for the cover (while she retained ownership of the photo) for free, for one-time use. Greenberg decided to make some personal images of the pictures. "I really didn't want there to be another Republican in the White House, so I decided to put my McCain pictures out on voting day." Saying she saw the work as political cartoons. "I thought it was the Artist Jill Greenberg appropriating the work of the Commercial Photographer Jill Greenberg." Greenberg's End Times, a series of photographs featuring toddlers, was the subject of controversy in 2006 (April 22 – July 8). The work featured stylized hyper-real closeups of children's faces contorted by various emotional distresses. The pieces were titled to reflect Greenberg's frustration with both the Bush administration and Christian Fundamentalism in the United States. The children were either professionally hired or were the children of friends (and included her daughter). All were accompanied by their parents, who assisted in getting the children to cry. The series resulted in active, often heated online discussion and news coverage, and resulted in hate mail which continued for several years. The images, meanwhile, have been imitated and used without permission for unrelated campaigns.Source: Wikipedia
Imogen Cunningham
Imogen Cunningham
United States
1883 | † 1976
Imogen Cunningham is renowned as one of the greatest American women photographers. In 1901, having sent away $15 for her first camera, she commenced what would become the longest photographic career in the history of the medium... Cunningham soon turned her attention to both the nude as well as native plant forms in her back garden. The results were staggering; an amazing body of work comprised of bold, contemporary forms. These works are characterized by a visual precision that is not scientific, but which presents the lines and textures of her subjects articulated by natural light and their own gestures. Her refreshing, yet formal and sensitive floral images from the 1920’s ultimately became her most acclaimed images. Cunningham also had an intuitive command of portraiture but her real artistic legacy was secured though her inclusion in the "F64" show in San Francisco in 1932. With a small group of photographers which included Edward Weston and Ansel Adams, she pioneered the renewal of photography on the West Coast. Awarded a Guggenheim Fellowship, Cunningham’s work continues to be exhibited and collected around the world.Source: Photography West Gallery I never divide photographers into creative and uncreative, I just call them photographers. Who is creative? How do you know who is creative or not? -- Imogen Cunningham Cunningham was born in Portland, Oregon, in 1883. In 1901, at the age of eighteen, Cunningham bought her first camera, a 4x5 inch view camera, from the American School of Art in Scranton, Pennsylvania. She soon lost interest and sold the camera to a friend. It wasn’t until 1906, while studying at the University of Washington in Seattle, that she was inspired by an encounter with the work of Gertrude Käsebier, to take up photography again. With the help of her chemistry professor, Dr. Horace Byers, she began to study the chemistry behind photography and she subsidized her tuition by photographing plants for the botany department. After being graduated in 1907 Cunningham went to work for Edward S. Curtis in his Seattle studio, gaining knowledge about the portrait business and practical photography. In 1909, Cunningham won a scholarship from her sorority (Pi Beta Phi) for foreign study and applied to study with Professor Robert Luther at the Technische Hochschule in Dresden, Germany. In Dresden she concentrated on her studies and didn’t take many photographs. In May 1910 she finished her paper, “About the Direct Development of Platinum Paper for Brown Tones,” describing her process to increase printing speed, improve clarity of highlights tones, and produce sepia tones. On her way back to Seattle she met Alvin Langdon Coburn in London, and Alfred Stieglitz and Gertrude Käsebier in New York. In Seattle, Cunningham opened her studio and won acclaim for portraiture and pictorial work. Most of her studio work of this time consisted of sitters in their own homes, in her living room, or in the woods surrounding Cunningham's cottage. She became a sought-after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913. In 1914, Cunningham's portraits were shown at An International Exhibition of Pictorial Photography in New York. Wilson's Photographic Magazine published a portfolio of her work. The next year, she married Roi Partridge, a teacher and artist. He posed for a series of nude photographs, which were shown by the Seattle Fine Arts Society. Although critically praised, Cunningham didn’t revisit those photographs for another fifty-five years. Between 1915 and 1920, Cunningham continued her work and had three children (Gryffyd, Rondal, and Padraic) with Partridge. In 1920, they moved to San Francisco where Partridge taught at Mills College. Cunningham refined her style, taking a greater interest in pattern and detail and becoming increasingly interested in botanical photography, especially flowers. Between 1923 and 1925 she carried out an in-depth study of the magnolia flower. Later in the decade she turned her attention toward industry, creating several series of industrial landscapes in Los Angeles and Oakland. In 1929, Edward Weston nominated 10 of Cunningham's photographs (8 botanical, 1 industrial, and 1 nude) for inclusion in the Film und Foto exhibition and her renowned, Two Callas, debuted in that exhibition. Cunningham once again changed direction, becoming more interested in the human form, particularly hands, and she was fascinated with the hands of artists and musicians. This interest led to her employment by Vanity Fair, photographing stars without make-up. In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the Group f/64, which aimed to “define photography as an art form by a simple and direct presentation through purely photographic methods.” In 1934, Cunningham was invited to do some work in New York for Vanity Fair. Her husband wanted her to wait until he could travel with her, but she refused. They later divorced. She continued with Vanity Fair until it stopped publication in 1936. In the 1940s, Cunningham turned to documentary street photography, which she executed as a side project while supporting herself with her commercial and studio photography. In 1945, Cunningham was invited by Ansel Adams to accept a position as a faculty member for the art photography department at the California School of Fine Arts. Dorothea Lange and Minor White joined as well. In 1973, her work was exhibited at the Rencontres d'Arles festival in France through the group exhibition: Trois photographes américaines, Imogen Cunningham, Linda Connor, Judy Dater. Cunningham continued to take photographs until shortly before her death at age ninety-three on June 24, 1976, in San Francisco, California.Source: Wikipedia The imaginative photographer is always dreaming and trying to record his dream. -- Imogen Cunningham
Kirk Crippens
Kirk Crippens
United States
Kirk Crippens is an American artist living in the San Francisco Bay Area. He had an early start with photography, inspired by his grandfather who kept a darkroom in his closet. Based in San Francisco since 2000, he began exhibiting in 2008. In 2010 he exhibited in thirteen shows, three were solo exhibitions. He was named Top 50 Photographer in Critical Mass, nominated for the 2011–2013 Eureka Fellowship Program, and invited to speak during PhotoAlliance’s Spring Lecture series at the San Francisco Art Institute. In 2011 he was included in eighteen exhibitions, three were solo, named Top 50 photographer for the second consecutive year, and a finalist for Photolucida’s book prize. In 2012 he was the artist in residence at RayKo Photo Center in San Francisco and participated in ten exhibitions. In 2013 he was the artist in residence at Newspace Center for Photography in Portland, Oregon. His portfolio Foreclosure, USA was recently collected by the Crystal Bridges Museum of American Art in Bentonville, Arkansas and was featured in their exhibition State of the Art, Discovering American Art Now in 2014-2015.
Attar Abbas
Attar Abbas
Iran/France
1944 | † 2018
Attar Abbas, better known as Abbas, was an Iranian photographer known for his photojournalism in Biafra, Vietnam and South Africa in the 1970s, and for his extensive essays on religions in later years. He was a member of Sipa Press from 1971 to 1973, a member of Gamma from 1974 to 1980, and joined Magnum Photos in 1981. Attar, an Iranian transplanted to Paris, dedicated his photographic work to the political and social coverage of the developing southern nations. Since 1970, his major works have been published in world magazines and include wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, and South Africa with an essay on apartheid. From 1978 to 1980, he photographed the revolution in Iran, and returned in 1997 after a 17-year voluntary exile. His book Iran Diary: 1971– 2002 (2002) is a critical interpretation of its history, photographed and written as a personal diary. From 1983 to 1986, he travelled throughout Mexico, photographing the country as if he were writing a novel. An exhibition and a book, Return to Mexico: Journeys Beyond the Mask (1992), which includes his travel diaries, helped him define his aesthetics in photography. From 1987 to 1994, he photographed the resurgence of Islam from the Xinjiang to Morocco. His book and exhibition Allah O Akbar, a journey through militant Islam (1994) exposes the internal tensions within Muslim societies, torn between a mythical past and a desire for modernization and democracy. The book drew additional attention after the September 11 attacks in 2001. The choice was to think of oneself either as a photojournalist or an artist. It wasn’t out of humility that I called myself a photojournalist, but arrogance. I thought photojournalism was superior. -- Attar Abbas When the year 2000 became a landmark in the universal calendar, Christianity was the symbol of the strength of Western civilization. Faces of Christianity: A Photographic Journey (2000) and a touring exhibit, explored this religion as a political, a ritual and a spiritual phenomenon. From 2000 to 2002 he worked on Animism. In our world defined by science and technology, the work looked at why irrational rituals make a strong come-back. He abandoned this project on the first anniversary of the September 11 attacks. His book, In Whose Name? The Islamic World after 9/11 (2009), is a seven-year quest within 16 countries : opposed by governments who hunt them mercilessly, the jihadists lose many battles, but are they not winning the war to control the mind of the people, with the "creeping islamisation of all Muslim societies?" From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same skeptical eye for his book Les Enfants du lotus, voyage chez les bouddhistes (2011). In 2013, he concluded a similar long-term project on Hinduism with the publication of Gods I've Seen: Travels Among Hindus (2016). Most recently, before his death, Abbas was working on documenting Judaism around the world. Before his death, Abbas was working on documenting Judaism around the world. He died in Paris on 25 April 2018, aged 74. About his photography Abbas wrote: "My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity – the suspended moment – intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photo, by the limit of the real which he must transcend so as not to become its prisoner." Source: Wikipedia Abbas, as he referred to himself professionally, was known for dramatic black-and-white photographs delivered with a point of view, especially in his book Iran Diary: 1971– 2002 (2002), a collection of images and text presented as a sort of journal. When the events that resulted in the overthrow of Shah Mohammed Reza Pahlavi in 1979 began, Abbas supported change, but he soon became disillusioned with Ayatollah Ruhollah Khomeini, who took over the government. “When the revolution started, it was democratic,” The Toronto Star quoted him as saying in 2013. “It was my country, my people and my revolution. Then, slowly, it was being hijacked.” A turning point, he said, was the execution of four generals after a secret trial. He photographed their corpses in a morgue. “Something that we learned,” he said, “is that the extremists always win. That was my main lesson from the revolution. The extremists were prepared to kill, imprison, torture — everything. So they won.” Abbas was born in 1944 in a part of Iran near the Pakistan border. When he was a boy his family relocated to Algeria; he said that growing up during that country’s war of independence sparked his interest in documenting political events. He taught himself to use a camera, and among his earliest jobs was working for the International Olympic Committee at the 1968 Summer Games in Mexico. He would return to Mexico in the mid-1980s, taking pictures throughout the country over three years and producing the 1992 book Return to Mexico: Journeys Beyond the Mask (1992). In the 1970s he worked for the French agencies Sipa and Gamma. Early in that decade he was in Africa, covering the aftermath of the Biafran war in Nigeria and other events. He then found himself back in Iran. “My family is from Iran,” he told Vice in 2015, “but it isn’t as if I felt particularly Iranian back then. But I did feel that things had to change — you can’t just have some shah making all the important decisions for an entire country.” As the situation became more unstable and it became clear to him that the revolutionaries were no better than the regime they were replacing, he faced pressures from friends. “They urged me not to show the revolution’s negative side to the world,” he said. “The violence was supposed to come from the shah, not the protesters. I told them that it was my revolution as well, but I still needed to honor my duty as a journalist — or a historian, if you will.” He left the country in 1980 and did not return for 17 years. The revolution, though, had instilled in him an interest in what people throughout the world were doing in the name of God. “It was obvious after two years that the wave of Islamism was not going to stop at the borders of Iran,” he said in a video interview with The British Journal of Photography in 2009. “It was going much beyond the borders.” There are two ways to think about photography: one is writing with light, and the other is drawing with light. -- Attar Abbas He began by examining that phenomenon, resulting in the book Allah O Akbar: A Journey Through Militant Islam (1994), which recounted his travels through 29 Islamic countries. “When you’ve started with God you might as well stay with him,” he said, explaining why he went on to look at Christianity, paganism, Buddhism and more. It was an examination not of personal faith, he said, but of how faith can be deployed and twisted in other spheres. “What I’m interested in is the political, social, economic, even psychological aspects of religion,” he said, adding, “More and more, nations are defining their identities referring to religion.” If his work often put him in the middle of trouble spots, Abbas was not necessarily interested in images of blood and weaponry. “Most photographers, when they say they’re war photographers, they’re not really war photographers; they’re battle photographers,” he said in the video interview. “War does not limit itself to boom-boom, to the battle itself. Wars are very, very complex phenomenons, because they have a source, and it takes a while to come up, then it happens, and there are consequences. I’m more interested in the why and the afterwards of the wars.” He played down the part of his work that involved putting himself in harm’s way. “They say ‘courage’ — O.K., you have to be courageous,” he said. “But for me courage is a lack of imagination. You cannot imagine that it’s going to happen to you, therefore you go to the battle.”Source: New York Times
Emmanuelle Becker
Emmanuelle Becker
France/United States
Emmanuelle Becker is a French-American artist-photographer living in Paris. She studied drawing, photography and printmaking at George Washington University in Washington, DC. from which she graduated with honors and later earned a master's degree in painting from Pratt Institute in New York. After graduating, she worked as a textile designer and then as a graphic designer all while pursuing her fine art career. Over time, photography has become her medium of choice, although her diverse artistic background influences both the aesthetics and craft of her photography. Emmanuelle touches on the unconscious in her images. She works in series and draws on memories and their accompanying emotions to create a very personal visual language which questions, disrupts and reshapes the viewer's perception of reality. With each series, Emmanuelle blurs the line between fantasy and reality to create enigmatic narratives and metaphors. Emmanuelle Becker's work has received international recognition, receiving awards and honorable mentions from many different competitions including the International Pollux Award, the Julia Margaret Cameron Award for Women Photographers, the Minimalist Photography Awards, the Worldwide Photography Gala Awards and the Creative Photo Awards. Her works have featured in exhibitions in Europe, Asia and the United States and been published in numerous catalogues and photography magazines including ALL ABOUT PHOTO and The Eye of the Photograph.
Willy Ronis
Willy Ronis
France
1910 | † 2009
Willy Ronis was a French photographer best known for his photographs of life in postwar Paris and Provence, who spent his career roaming the Parisian streets capturing people in love, at work, and at play in lyrical black-and-white images, claimed an interest in "ordinary people with ordinary lives." He was a central figure in the "humanist photography" movement, alongside colleagues Robert Doisneau, Henri Cartier-Bresson, and George Brassaï, celebrating the poetry in the everyday in warm, witty images. I have never sought out the extraordinary or the scoop. I looked for what complemented my life. The beauty of the ordinary was always the source of my greatest emotions. -- Willy Ronis Working in his parents' photography studio, Willy Ronis honed his sense of proportion and composition. Ronis was born in Paris; his father was a Jewish refugee from Odessa, and his mother was a Lithuanian refugee who had fled the pogroms. His father established a photography studio in Montmartre, and his mother taught piano. The boy's first love was music, and he aspired to be a composer. When Ronis returned from military service in 1932, his violin studies were put on hold because his father's cancer forced him to take over the family portrait business; His love of music can be seen in his photographs. When his father died in 1936, the business collapsed, and Ronis went freelance, with his first photographs appearing in Regards. Willy Ronis met David Szymin and Robert Capa in 1937 and did his first work for Plaisir de France; in 1938-39, he reported on a Citroen strike and traveled in the Balkans. Ronis, like Cartier-Bresson, was a member of the Association des Écrivains et Artistes Révolutionnaires and remained a leftist. Ronis was inspired to start exploring photography by the work of photographers Alfred Stieglitz and Ansel Adams. After his father died in 1936, he closed the studio and joined the photo agency Rapho, where he worked alongside Brassaï, Robert Doisneau, and Ergy Landau. Most of my photographs were taken on the spur of the moment, very quickly, just as they occurred. All attention focuses on the specific instant, almost too good to be true, which can only vanish in the following one. -- Willy Ronis Willy Ronis was the first French photographer to work for Life magazine. In 1953, Edward Steichen curated a show at the Museum of Modern Art called Five French Photographers, which featured Ronis, Henri Cartier-Bresson, Robert Doisneau, Izis, and Brassaï. He was also featured in the Family of Man exhibition in 1955, and received in 1957 the Gold Medal from the Venice Biennale. Ronis began teaching at the School of Fine Arts in Avignon, Aix-en-Provence, and Saint Charles, Marseilles in the 1950s. The Minister of Culture awarded him the Grand Prix des Arts et Lettres for Photography in 1979. In 1981, Ronis won the Prix Nadar for his photobook Sur le fil du hasard. Marie-Anne Lansiaux (1910-91), a Communist militant painter, was the subject of Ronis' well-known 1949 photograph, Nu provençal (Provençal naked). The photograph, which was taken in a house that Marie-Anne and he had just purchased in Gordes, showed Marie-Anne washing at a basin with a water pitcher on the floor and an open window through which the viewer can see a garden; it is notable for its ability to convey an easy feeling of Provençal life. "The destiny of this image, published constantly around the world, still astonishes me," Ronis said of the photograph. Ronis spent the 1960s and 1980s in Provence and photographed Marie-Anne, who was suffering from Alzheimer's disease at the time, sitting alone in a park surrounded by autumn trees.
Lisa Thomas
Lisa Thomas
United States
1974
Lisa Thomas is a self-taught Atlanta-based photographer with a passion for creating unique, abstract images. Born in Virginia in 1974, she holds a degree in physical therapy from the University of Oklahoma and has spent over 20 years in the healthcare industry. She began studying photography in 2020 as a creative outlet to cope with stress and to connect with others during a time of social isolation. Initially drawn to representational imagery, her journey as an artist has been an evolution, leading her to embrace the enchanting realm of abstract photography. Thomas’s current work, Studies in Oil and Water, is a macro view of the interplay between oil and water set against a variety of backdrops. Thomas’s distinctive style combines vibrant colors, playful compositions, and the use of light to create images that are emotionally uplifting and encourage viewers to embark on a visual journey. Studies in Oil and Water My photographic work is an exploration of two seemingly incompatible elements, oil and water. Through my lens, I capture their intricate interactions giving rise to mesmerizing abstract compositions allowing viewers to immerse themselves in a realm of color and fluidity. In this chaos, I find harmony in the hues and patterns that emerge and an appreciation for the beauty in the everyday. From bold and intense to tranquil and serene, my photographs mirror the kaleidoscope of emotions that define our lives. My aim is not only to captivate the eye but also to inspire curiosity and contemplation in the viewer.
Randall Romano
Randall Romano
Canada
1957
Randall has been making photographs for over 45 years, initially in the nature/landscape genre, eventually evolving to run a commercial photography business focused on interior and exterior architectural clients. Since 2015, after closing the business, he focused solely on photographing subjects and projects that are of personal interest. These consist largely of street and documentary subjects. He has also been active in lecturing about photography, to a wide variety of Ontario camera groups. These presentations sought to stir up and challenge traditional notions on photography, bringing to light the work and importance of master photographers. A recent book publication: Reaching a Higher Level in Photography (2023) has come out of these presentations. I believe the camera’s strength is its ability to capture fleeting moments, to stop time and create a sense of curiosity in the viewer. If a still image is to be successful it has to illustrate something missed and something fleeting. Chasing this fleeting moment of uniqueness allows me to better saviour life. A father of four children, Randall and his wife Catherine live on a rural property near Peterborough, Ontario, Canada. Statement Photography represents much more to me than only exploring the world. It is the ability to capture a moment of time, to rip a unique page from the book of life. Photographs at their best tell a story or reveal a penetrating statement, not only through an individual picture but also through groups of photographs. The camera provides a means to document and freeze a passing juncture, perhaps capturing an important instant, a blink of vision that without the camera would be gone forever. The simple act of making a photograph encourages the photographer to stop and carefully look at the complexity of life. This uncomplicated act opens up details of the world lost to others. At its true essence, the camera is a persistent companion documenting a unique view of the world and travelling along through our life journeys. The techniques I use to capture these moments of life and narratives are not based on technological prowess, because to me the camera is only a tool to be harnessed. Photographs reflect and document the real world and are a contemplation of things as they are. Technology is only a means to capture this reality. The ultimate success of the process is the strength and validity of the final product, and the need it creates in the viewer to linger and explore. Winner AAP Magazine #30 Shadows
Advertisement
AAP Magazine #55 Wmen
Win a Solo Exhibition in April
AAP Magazine #55 Wmen

Latest Interviews

Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Read the full interview
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.
Read the full interview
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.
Read the full interview
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.
Read the full interview
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.
Read the full interview
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.
Read the full interview
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.
Read the full interview
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.
Read the full interview
Call for Entries
AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
© Ilaria Miani
Explore All About Photo
All About Photo
About Us
Contact Us
Link Back
Press
Blog
Newsletter
Terms of Use
Privacy Policy
Competitions
All About Photo Competitions
Our Jurors
All Photo Contests
Open Photo Contests
Amateur Photo Contests
Professional Photo Contests
Portfolio Reviews
Photo Competition News
Artists
Photographers A-Z
Masters of Photography
Modern Photographers
Rising Photographers
Articles
Interviews
Inspirational
Photography Exhibitions
Photography Festivals
Photo Fairs
Photo Museums
Galleries & Centers
Photographer Monographs
Technique Books
History of Photography
Miscellaneous
Paper Magazines
Online Magazines
Resources
Schools and Classes
Photography Agencies
Equipment Rentals
Studio Rentals
Photo Labs
Camera Repairs
Framing Stores
Photo Tips & Tools
Photo Gear
© 2026 © All-About-Photo.com, All Rights Reserved  •  Photographs © the Respective Artists, All Rights Reserved.