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Lauren Stewart
Lauren Stewart
Lauren Stewart

Lauren Stewart

Country: United States
Birth: 1983

Lauren Stewart is a self-taught American documentary & street photographer. She graduated from the College of Charleston in 2005 with a degree in English. From 2017 to 2019 she lived in and traveled through China, Nepal, India and Thailand where she covered South East Asia. Her work focuses on documenting people’s daily lives to make global cross-cultural connections between the viewer and the subject. Her work has appeared in numerous international publications such as Suitcase Magazine, Electrify Magazine, Matador Network, NR Magazine as well as others. She was selected to be a part of the inaugural Women Street Photographers exhibit in 2018 in New York City and was also a finalist in the WSP exhibitions in 2019 and 2024. Her work has also been included in the PHOS Street Photography Days Exhibition in Bulgaria in 2018 and most recently in PHOTO SC’s Feminism exhibition in Columbia, South Carolina in 2024. She currently lives in the United States with her family while working on both street photography as well as long-term documentary projects revolving around the culture of the American South.

Website

@laurenalliephoto

 

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More Great Photographers To Discover

Hardijanto Budiman
Hardijanto Budiman
Indonesia
1968
My name is Hardijanto Budiman aka. Hardibudi, a Visual artist base in BSD City ( about 40 Km west of Jakarta, Indonesia ) My life is overflowing with creating works of art. Since a boy I really love anything related to Art especially Painting & Music. For me Photography is the best media to express my passion in Art. My works just like the Journey of my life! It is all about the expression of Imagination, Emotion & Experiences of my life. My favorite genre are Conceptual & Contemporary Photography. I also love anything about Surreal Art! That's why lots of my works strongly influenced with Surreal touch.
Leo Rubinfien
Leo Rubinfien
United States
1953
Leo Rubinfien, born in Chicago, Illinois, is a photographer and essayist from the United States. He currently resides and works in New York City. Rubinfien rose to popularity in the 1970s as a member of a group of artist-photographers who experimented with new color processes and materials. In 1981, Leo Rubinfien had his first one-person exhibition at Castelli Graphics in New York, and he has since had solo exhibitions at the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Cleveland Museum of Art, the Seattle Art Museum, the Corcoran Gallery of Art in Washington, DC, the National Museum of Modern Art in Tokyo, and the Cantor Arts Center at Stanford University. He is the author of two photobooks, A Map of the East (Godine, Thames & Hudson, Toshi Shuppan, 1992) and Wounded Cities. Leo Rubinfien is also a prolific writer, having produced numerous extensive essays on famous twentieth-century photographers. He contributed a memoir, Colors of Daylight, to Starburst: Color Photography in America, 1970-1980 (Kevin Moore, Cincinnati Art Museum / Hatje Caantz 2010), and wrote Wounded Cities, a long personal and historical essay about the September 11th, 2001 attacks and the years that followed. He was the Guest Co-curator of Shomei Tomatsu's retrospective at the San Francisco Museum of Modern Art from 2001 to 2004, and he is the co-author of Shomei Tomatsu / Skin of the Nation (Yale University Press, 2004). Since 2010, he has served as Guest Curator for the San Francisco Museum of Modern Art's exhibition of Garry Winogrand's work, which will embark on a world tour in 2013. The Metropolitan Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Cleveland Museum of Art, the Seattle Art Museum, the Tokyo Metropolitan Museum of Photography, the Corcoran Gallery of Art, the Bibliothèque Nationale de France, the Yale University Art Gallery, the Cantor Arts Center at Stanford University, and the Fogg Museum have all acquired Rubinfien's work. Leo Rubinfien has received fellowships from the Guggenheim Foundation, Japan Foundation, Asian Cultural Council, and New York University's International Center for Advanced Studies, and he was given the Gold Prize at the 5th Lianzhou International Photography Festival in 2009.
Ian McFarlane
Ian McFarlane
United States
1970
Ian McFarlane is a portrait and commercial photographer living in Athens Georgia. Ian began his love for photography his senior year in high school, knowing he would go in to the arts, he attended The University of Georgia Lamar Dodd School of Art. By his senior year he already knew that photography would be the path he would travel for the rest of his life. During his last year at UGA he became custom darkroom printer and photo consultant for Michael Stipe, lead singer for the band REM. For the next 8 years Ian worked closely with Michael, printing his personal photos and helped guide him on his journey back to his love for photography. In 1998 Ian printed the photographs for Micheals first book, 2 Times Intro: On The Road with Pattie Smith. Ian had his first solo show in 1998 with Jane Jackson Fine Art in Atlanta Ga. Where he was represented until 2005. In 2000 Ian took the leap to open his own studio and began shooting for Publication all over the country. Over the last 23 years Ian has continued to work as a freelance photographer as well as shooting personal B/W portrait projects. During the last 3 years Ian has worked on two portrait series dear to his heart. My Mother's Daughter, which is based on the loss of his mother to dementia and currently shooting, Welcome Ukrainian Refugees in Georgia. ''My true love for photography is the portrait. I only use natural light, finding that special patch of light and allowing the silent dance to begin.''
Consuelo Kanaga
Consuelo Kanaga
United States
1894 | † 1978
Consuelo Kanaga (born Consuelo Delesseps Kanaga) was an American photographer and writer who became well known for her photographs of African-Americans. She is one of the pioneers of modern American photography, began her career as a photojournalist in 1915 in San Francisco. In the 1920s, Alfred Stieglitz inspired her to develop a more aesthetic approach, and a trip to Europe in 1928 awakened her lifelong preoccupation with European modernist painting and the ways in which that work was influenced by the sculpture of Africa. Kanaga successfully combined a Pictorialist aesthetic with a realist strategy, producing handsomely composed and carefully printed images. She was one of few white American photographers in the 1930s to make artistic portraits of African Americans.Source: The Brooklyn Museum Kanaga was born on May 25, 1894 in Astoria, Oregon, the second child of Amos Ream Kanaga and Mathilda Carolina Hartwig. Her father was a successful lawyer and judge in Ohio. After moving to Astoria he became the district attorney for the city, and he also traveled widely, often leaving his family behind with little notice. After they moved to California in 1915 her mother became a real estate broker, a highly unusual occupation for a woman at that time. The last name "Kanaga" is of Swiss origin, and a family genealogy traces its roots back at least 250 years. She spelled her first name "Consuela," at least in the 1920s and '30s, but it is generally listed now as Consuelo, a more common Spanish name. Her middle name "Delesseps" is said to have come from her mother's admiration for Ferdinand de Lesseps, the French diplomat and developer of the Suez Canal. In 1911 the family moved from Oregon to Larkspur in Marin County, California. In 1915 Kanaga got a job as a reporter, feature writer and part-time photographer for the San Francisco Chronicle. Dorothea Lange later said that Kanaga was the first female newspaper photographer she had ever encountered. It was there that she discovered Alfred Stieglitz's journal Camera Work and decided to become a photographer. Lange encouraged her to take up photography as a career and introduced her to the growing San Francisco Bay Area community of artistic photographers, notably Anne Brigman, Edward Weston, Francis Bruguière, and Louise Dahl-Wolf. In 1919 she married mining engineer Evans Davidson, but they separated within two years. In 1922 she moved to New York in order to work as a photojournalist for the New York American newspaper. While in New York a co-worker at the newspaper, Donald Litchfield, introduced her to Alfred Stieglitz. Stieglitz worked with Kanaga to help transform her vision from photojournalism to a more artistic photographic style. By March 1923 she was living with Litchfield, although at the time she had not yet divorced Davidson. In 1924 she and Litchfield moved to California, living at times near Santa Cruz, San Francisco and Los Angeles. By the end of the year she had finalized divorce proceedings against Davidson, and she became engaged to Litchfield. The engagement lasted only six months, however, and by the end of the year they were no longer a couple. In 1926 she met Tina Modotti, who was visiting San Francisco, and she put together a small exhibition of Modotti's photographs at the Kanaga Studio on Post Street. Aided by art patron Albert Bender, she began planning a prolonged "tour" of Europe, and in 1927 she spent the latter part of the year traveling and photographing in France, Germany, Hungary and Italy. While there she met up with Dahl, and the two of them spent many weeks traveling together. While traveling to Tunisia in January 1928, she met James Barry McCarthy, an Irish writer and ex-pilot, and by March they were married. In May they returned to New York City and took up residence there. Kanaga initially found work as a photographic retoucher, but within a few months she had her own darkroom and was printing the first of her many photos from Europe. In 1930 she and McCarthy moved to San Francisco, and soon she was re-established in the photographic community there. In 1931 she met and began to employ African-American Eluard Luchell McDaniels, a young "man-of-all-trades" who worked for her as a handyman and chauffeur. She began to photograph him around her home, and as they talked she became captivated by the plight of African-Americans and their continuing fight against racism. Soon she was devoting much of her photography to images of African-Americans, their homes and their culture. In 1932 she was invited by Weston and Ansel Adams to participate in the famous Group f/64 show at the M.H. de Young Museum, and she showed four prints. There is some confusion about whether Kanaga should actually be called a "member" of Group f/64. The announcement for the show at the de Young Museum listed seven photographers in Group f/64 and said "From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are: Preston Holder, Consuela Kanaga, Alma Lavenson, Brett Weston." However, in 1934 the group posted a notice in Camera Craft magazine that said "The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cunningham, Consuela Kanaga and several others." In an interview later in her life, Kanaga herself said "I was in that f/64 show with Edward Weston, Imogen Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger." In 1935 she moved back to New York without McCarthy, and the two apparently were divorced sometime that year. She began plans for a portfolio of African Americans and interviewed several families in Harlem with whom she hoped to live while documenting their lives. While there she encountered painter Wallace Putnam, whom she had met the last time she lived in New York. Within three months they were married. They spent part of their honeymoon visiting Alfred Stieglitz at his home at Lake George. In 1938 she joined the Photo League, where she lectured a new generation of artistic photographers and became the leader of the Documentary Group projects, including Neighborhoods of New York. Her photographs were printed in progressive publications of the time, including New Masses, Labor Defender, and Sunday Worker. By 1940 she found teaching too restrictive, and she returned to taking photographs full time. She was actively photographing and exhibiting throughout the 1940s, 50s and 60s. In the latter decade she became very active in civil rights, and she took part in and photographed many demonstrations and marches. In 1963 she was arrested in Albany, Georgia during the Walk for Peace. She finally seemed to have found the right romantic and creative partner in Putnam, and the two of them remained together for the rest of her life. They traveled frequently and spent the last half of the 1960s going back and forth to France. A review published in New York Times described that "She continued to work into her 70s, despite suffering from emphysema and cancer, which were probably caused by the chemicals used in creating her prints. Her body of work, though comparatively small, is consistently exceptional. Consuelo Kanaga died virtually unknown on February 28, 1978, but her talent endures." Her entire estate amounted to $1,345 in photographic equipment, almost 2,500 negatives and 375 prints. Everything else she had given away to friends.Source: Wikipedia
Miles Aldridge
Miles Aldridge
United KIngdom
1964
Miles Aldridge rose to prominence in the mid-nineties with his arresting, highly stylised photographs with references to film noir, art history and pop culture. An acclaimed colourist, he renders elaborate mise-en-scènes in a palette of vibrant acidic hues. These glamorous, frequently eroticised images probe society's idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface. Aldridge has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. His creative output encompasses large-scale c-type prints, Polaroids, screenprints, photogravures and drawings. Born in London in 1964, the son of famed art director and illustrator Alan Aldridge, his interest in photography began at an early age when he was given a Nikon F camera by his father. He went on to study graphic design at Central Saint Martins, graduating with a BA in 1987. Aldridge initially worked as an illustrator and music video director, before turning his attention to photography. In 1996 he began working with Franca Sozzani, the legendary editor-in-chief of Vogue Italia, and their boundary-pushing collaboration would continue for twenty years. In addition to the many international editions of Vogue, Aldridge's images have featured regularly in prestigious titles including Harper's Bazaar, Numéro, W, The New York Times Magazine and The New Yorker. Aldridge develops each new photographic narrative by rendering his initial thoughts in ink or pencil sketches with washes of watercolour and pastel. These drawings and storyboards are an essential early stage in his creative process. He believes that 'fiction and theatricality can be more truthful than documenting reality' and translates his sketches into meticulously arranged compositions to create images reminiscent of film stills: frames snatched from a broader story. Aldridge notes that many of his favourite moments in cinema are, as he describes, "closeups of a woman's face thinking", and he shares Hitchcock's ability to create powerful moments of suspense, turning viewers into voyeurs. In Aldridge's Chromo Thriller (2012) there is a palpable resonance with David Lynch's neo-noir mystery Blue Velvet, where immaculate façades hide darkly strange stories. As one author has noted: "Aldridge's female protagonists recall the glamour and splendour of Isabella Rossellini's character whilst at the same time remaining suggestive of something more sinister." Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial. In the series Capital Gains (2007) and Open Tour (2008) the cities of Washington DC and Paris look cleaner and sleeker than ever before. In The Last Range of Colours (2007), a lone figure in a children's playground evokes both the Technicolor splendour of The Wizard of Oz and the haunting dreamscape of a Giorgio de Chirico painting. A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy-coloured telephones and well-groomed pets denote success. The work conflates historic and modern motifs and makes subtle reference to the art historical canon. The project Immaculée (2007) points to Catholic depictions of female saints in ecstasy, whilst his portraits of Lily Cole (2005) and Maisie Williams (2017) draw inspiration from Northern Renaissance masters such as Albrecht Dürer and Hans Holbein. Pop Art tropes feature predominantly: Coca-Cola logos (3D, 2010; A Family Portrait #14, 2011), soup cans and tomato ketchup bottles (A Drop of Red #2, 2001; First Impressions, 2006) all form a striking part of his visual lexicon. His fascination with art history led Aldridge to undertake projects with several significant contemporary artists including Maurizio Cattelan, Gilbert & George and Harland Miller. For the project (after Cattelan) (2016), he was invited by Cattelan to respond to the Italian artist's exhibition, Not Afraid of Love, in the grand neoclassical rooms of the Monnaie de Paris. The resulting series of c-type photographs depicts statuesque nudes dominating Cattelan's hyperreal sculptures in a series of absurdist tableaux. A second series, titled Love Always and Love All Ways after Gilbert & George (2016), was made with the British duo at their London townhouse. Drawing on the conventions of Victorian melodrama, Aldridge devised a series centred around the story of an enigmatic young visitor staying at the house for the weekend. In a further nod to Victoriana, the images were printed using the nineteenth-century photogravure process, whereby an etched copper plate produces highly detailed intaglio prints. The monotone prints were augmented with blocks of bold colour and hand-painted details to create a contemporary aesthetic. His most recent collaboration was with Harland Miller, known for his paintings of imaginary book covers that were partly inspired by Alan Aldridge's 1960s designs for Penguin paperbacks. In a satisfying symmetry, Aldridge transformed Miller's paintings into real books, used as props in his photoshoot. The resulting screenprints evoke the grainy colour supplements of Aldridge's youth and were published by Poligrafa, Barcelona's renowned fine art publisher, who launched them at the 2017 edition of Art Basel Miami Beach. Poligrafa went on to publish the subsequent screenprint series New Utopias, which they exhibited at the 2018 edition of Art Basel. Most recently, Tan Lines, one of Aldridge's largest screenprints to date, was unveiled by Poligrafa at the 2019 edition of The Armory Show, New York. Aldridge's major museum exhibitions include his upcoming retrospective Virgin Mary. Supermarkets. Popcorn. Photographs 1999 - 2020 at Fotografiska, New York, which opened 7th May 2021 having first appeared at Fotografiska Museum, Stockholm (2020-2021), solo shows at The Lumiere Brothers Photography Centre, Moscow (2019) and OCA, São Paulo (2015) and I Only Want You to Love Me at Somerset House, London (2013). In 2014, he was commissioned by Tate Britain to create a photographic installation in response to Mark Gertler's 1916 painting Merry-Go-Round. London's National Portrait Gallery houses a large collection of Aldridge's portraits and his work is held in prestigious museums and institutions around the world including the Victoria and Albert Museum and British Museum in London, the Fondation Carmignac and the Palais Galliera in Paris, the Davis Museum at Wellesley College, Massachusetts and the International Center of Photography in New York. -- Susanna Brown Curator of Photography Victoria and Albert MuseumSource: milesaldridge.com
Tim Flach
Tim Flach
United Kingdom
1958
Tim Flach is an animal photographer with an interest in the way humans shape animals and shape their meaning while exploring the role of imagery in fostering an emotional connection. Bringing to life the complexity of the animal kingdom, his work ranges widely across species, united by a distinctive stylisation reflecting an interest in how we better connect people to the natural world. He has four major bodies of work concerning different subjects: Equus (2008) focusing on the horse, Dogs Gods (2010) on canines, More Than Human (2012) a broad exploration of the world’s species, and Endangered (2017) a powerful document of species on the edge of extinction. He has published five books; Endangered (2017), Evolution (2013), More than Human, (2012), Dogs Gods (2010) and Equus (2008). Flach is an Honorary Fellow of the Royal Photographic Society, and was awarded an Honorary Doctorate from University of the Arts London in 2013. He lives and works in London with his wife and son. Source: timflach.com Over the past decade, Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way humans shape animals, and shape their meaning. He has three major bodies of work: More Than Human, Dogs Gods, and Equus. Through the related books and exhibitions, Flach has attracted international interest. His images have been acquired by major public and private collections. Commissions by leading editorial and commercial clients have also garnered multiple awards, including three Cannes Lions. He has won the International Photography Award's Professional Photographer of the Year for fine art, and in 2013 was conferred with an Honorary Doctorate from Norwich University of the Arts, in recognition of his contribution to photography.
Ali Zolghadri
Ali Zolghadri
Iran
1993
Ali Zolghadri is an internationally acclaimed fine art photographer whose work explores silence, solitude, and the poetic tension between form and emptiness. His black-and-white conceptual compositions merge minimalism with surreal imagination, turning ordinary spaces into contemplative visual experiences. Winner of over 130 international photography awards from more than 20 countries, Zolghadri’s work has been exhibited in major cities such as Dubai, Paris, New York, Budapest, and Siena. He is the recipient of the UAE Golden Visa for Artistic Excellence. Currently residing between Tehran and Dubai, he is represented on Artsy (Simine Paris Gallery), and his limited edition works are available on Saatchi Art. Zolghadri’s art continues to push the boundaries of conceptual fine art photography, offering viewers an introspective dialogue between simplicity, emotion, and form. Statement "My art is a reflection of silence — where simplicity becomes meaning, and absence reveals emotion. Through minimal forms and subtle contrasts, I explore the fragile connection between humanity and the unseen, between light and void. Each image is a quiet attempt to make emptiness speak." Awarded Photographer of the Week - Week 44, 2025
Gerda Taro
Gerda Taro
Germany
1910 | † 1937
Gerda Taro, a pioneering figure in the world of photojournalism, illuminated the harrowing realities of conflict through her lens. Born Gerta Pohorylle on August 1, 1910, in Stuttgart, Germany, she would later adopt the pseudonym "Gerda Taro" as she ventured into the tumultuous landscape of war-torn Europe during the 1930s. Taro's journey into photography began as she fled Nazi persecution, seeking refuge in Paris. It was there that she crossed paths with fellow photographer Robert Capa, sparking a creative and romantic partnership that would shape both their lives and redefine the boundaries of photojournalism. Together, Taro and Capa embarked on a mission to document the Spanish Civil War, a conflict that would serve as a crucible for their artistic and ideological convictions. Working under the banner of "Robert Capa and Gerda Taro," they captured the raw intensity of battle, immortalizing the struggles of Republican forces against the backdrop of Franco's fascist regime. Despite the dangers inherent in their profession, Taro fearlessly ventured into the heart of the conflict, often disregarding personal safety in pursuit of the perfect shot. Her images exuded a sense of urgency and immediacy, offering a stark reminder of the human cost of war and the resilience of the human spirit in the face of adversity. Tragically, Taro's life was cut short at the tender age of 26 when she was struck by a tank during the Battle of Brunete in July 1937. Her untimely death sent shockwaves through the world of photojournalism, serving as a sobering reminder of the risks faced by those who bear witness to history's most tumultuous moments. Though her life was brief, Gerda Taro's impact on the world of photography endures as a testament to her courage, compassion, and unwavering commitment to truth-telling. Her images continue to serve as a powerful reminder of the human toll of conflict, inspiring future generations of photographers to wield their cameras as instruments of social change and justice. As we reflect on the legacy of Gerda Taro, we are reminded of the profound significance of bearing witness to history's darkest chapters and the enduring power of images to shape our understanding of the world and ignite the flames of empathy, compassion, and solidarity across borders and generations.
Carl Mydans
Carl Mydans
United States
1907 | † 2004
Carl Mydans was an American photographer who worked for the Farm Security Administration and Life magazine. Mydans grew up playing on the Mystic River near Medford, near Boston, Massachusetts. His father was an oboist. Mydans became devoted to photography while in college at Boston University. While working on the Boston University News he abandoned childhood dreams of being a surgeon or a boat builder in favor of journalism. His first reporting jobs were for The Boston Globe and the Boston Herald. After college, he went to New York as a writer for American Banker and then in 1935 to Washington to join a group of photographers in the Farm Security Administration. There he worked with other photographers like Dorothea Lange and Ben Shahn to document the conditions of the American rural workers. In 1935, he traveled throughout New England and America's South, documenting the end of a rural-based economy, and gained a measure of renown for his images of bedraggled Arkansas farmers and their families. It was the Great Depression, and the poorest of America's poor were devastated by the economic downturn. "One picture, of a Tennessee family living in a hut built on an abandoned truck chassis, portrays the misery of the times," noted Mydans' Times of London obituary, "as starkly as any photographs by his more celebrated contemporaries." In 1936, he joined Life as one of its earliest staff photographers (Alfred Eisenstaedt, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole were the original staff photographers) and a pioneering photojournalist. Mydans recorded photographic images of life and death throughout Europe and Asia during World War II traveling over 45,000 miles (72,000 km). In 1941, the photographer and Shelley Mydans were the first husband and wife team on the magazine's staff. Shelley and Carl were captured by the invading Japanese forces in the Philippines and interned for nearly a year in Manila, then for another year in Shanghai, China, before they were released as part of a prisoner-of-war exchange in December 1943. After their release, Mydans was sent back into Europe for pivotal battles in Italy and France. By 1944, Mydans was back in the Philippines to cover MacArthur's return. Mydans snapped the moment when General Douglas MacArthur purposefully strode ashore in the Philippines in 1945, The legendary officer had declared, when the Japanese came in 1942, "I shall return," and Mydans' photograph of the formidable general immortalized that claim for posterity. Some asserted that it must have been staged, but Mydans resolutely defended the photograph as entirely spontaneous, though he did admit that MacArthur was savvy about public-relations opportunities. The general had appeared in Mydans' other memorable image from that assignment, watching with other top U.S. brass as a Japanese delegation signed the official documents of surrender on an early September day in 1945. "No one I have ever known in public life had a better understanding of the drama and power of a picture," Mydans, said about MacArthur. Mydans also captured the signing of Japan's surrender aboard the U.S.S. Missouri. Some of Mydans's other famous pictures include the bombing of Chongqing, angry French citizens shaving the heads of women accused of sleeping with Germans during the occupation in 1944; a roomful of excited royal youngsters and their staid older relatives in 1954; and a 1950 portrait of Douglas MacArthur smoking a pipe. But he also photographed the war from the viewpoint of the ordinary soldier or sailor. "Resourceful and unruffled, Mr. Mydans sent back pictures of combat that even now define how some remember World War II, Korea, and other conflicts," noted The New York Times. Despite his two years in captivity, Mydans bore no ill will toward the Asian nation, and accepted an assignment to head Time-Life's Tokyo bureau with his wife. Time-Life was the publisher of Time, Life and other top magazines, which Mydans continued to provide with an array of visual stories. In 1948, he just happened to be in the city of Fukui when a destructive earthquake struck; some of his shots were taken on the street while buildings were collapsing around him. After covering the Korean War, Mydans traveled the globe for the next two decades for Life before the publication folded in 1972. When it was relaunched several years later, he was still listed as one of its contributing photographers. He died on August 16, 2004, of heart failure at his home in Larchmont, New York, at the age of 97. Widowed in 2002, Mydans was survived by his daughter, Misty, a California attorney; and his son, Seth, Asia correspondent for The New York Times.Source: Wikipedia Having started out as a newspaper reporter, Carl Mydans switched over to the camera and at the height of the Depression worked for the Farm Security Administration, documenting the travails of migrant farm families. After signing on with LIFE, he and his wife, Shelley, became the magazine’s first roaming photographer-reporter team. In 1941 they were sent to China to cover Japanese bombing raids there; late in the year they were trapped in Manila when the Japanese overran the Philippines, and they were held captive for nearly two years before being repatriated in a POW exchange. When the prison camp was about to be liberated, Douglas MacArthur sent Mydans in with the first tanks. Of course, Mydans’s picture of MacArthur “returning” to the Philippines is one of history’s most celebrated photographic images. Mydans was known also for his intriguing portraits of such as Pound and Faulkner. In the words of David Hume Kennerly, “Carl Mydans is a photographer’s photographer and a human’s human.” In the prison camp at Santo Tomas in the Philippines, said Shelley Mydans, “they didn’t feed us, so we were very hungry, and we were sick sometimes.” Rogers and Todd, at right, were among the three dozen men with whom Carl shared a room at the prison. Between them, the duo lost 131 pounds during their four years of internment.Source: LIFE
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Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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