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Wiktor Franko
Wiktor Franko
Wiktor Franko

Wiktor Franko

Country: Poland
Birth: 1983

Wiktor Franko, born in Kielce in 1983. He completed Polish Language Studies at the Swietokrzyska Academy, then got involved in photography and he has ever since been preoccupied with it. He deals with both fine art and commercial photography. His photographs have been published in a number of professional magazines, such as Prism Magazine, Camerapixo, Pokochaj Fotografie, Fabrikon Magazine, Musli Magazine, Confashion and a Chinese Prime Magazine. He exhibited his works at a few collective and individual exhibitions, and his photographs were awarded in a variety of photo contests - he was twice awarded in a prestigious Viva Photo Awards and two local contests Zycie Jest Piekne and Kielce Inaczej (he was a jury member with Pawel Pierscinski in the last two editions of Kielce Inaczej contest). Wiktor Franko was a collaborator of Charaktery magazine, and a number of his images were placed on the cover of that magazine. His photographs can also be found on book covers.

On two occasions, he took photographs of famous people from the world of business, culture and politics, including a portrait photo depicting Malgorzata Tusk, Prime Minister's wife for Philanthropist's Calendar, a publication that is of importance for the region. Wiktor Franco is the author of three posters for The Off Fashion, a European contest for fashion designers that is held in Kielce. Initially, Wiktor's development as a photographer ran parallel to his stay in London, where he shot photos of jazz and rock music stars, including Marillion, King Crimson, Porcupine Tree, Archive, Chic Corea, Jan Garbarek. Currently, Wiktor is engaged in making music albums covers of Polish artists, including Strefa Ciszy, Lebowski.

In his photographs, Wiktor Franko frequently uses literary motifs and allusions (a cycle devoted to Milan Kundera's novels). His works, strongly influenced by surrealism, are often defined as painterly. As he himself says, what is most important for him in photography is the atmosphere, a particular mood and surprise.

Source: Galeria Winda

Website

wiktorfranko.com

 

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Sebastião Salgado
Sebastião Salgado
Brazil
1944 | † 2025
Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work. He has travelled in over 100 countries for his photographic projects. Most of these, besides appearing in numerous press publications, have also been presented in books such as Other Americas (1986), Sahel: l’homme en détresse (1986), Sahel: el fin del camino (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), and Africa (2007). Touring exhibitions of this work have been, and continue to be, presented throughout the world. Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments. He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States. In 2004, Salgado began a project named Genesis, aiming at the presentation of the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature. Together with his wife, Lélia, Salgado has worked since the 1990’s on the restoration of a small part of the Atlantic Forest in Brazil. In 1998, they succeeded in turning this land into a nature reserve and created the Instituto Terra. The Instituto is dedicated to a mission of reforestation, conservation, and environmental education. (Amazonas Images) "I have named this project GENESIS because my aim is to return to the beginnings of our planet: to the air, water and the fire that gave birth to life, to the animal species that have resisted domestication, to the remote tribes whose 'primitive' way of life is still untouched, to the existing examples of the earliest forms of human settlement and organization. A potential path towards humanity's rediscovery of itself. So many times I've photographed stories that show the degradation of the planet, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence. And then we can understand what we must preserve." —Sebastião Salgado Source: Peter Fetterman Gallery After a somewhat itinerant childhood, Salgado initially trained as an economist, earning a master’s degree in economics from the University of São Paulo in Brazil. He began work as an economist for the International Coffee Organization, often traveling to Africa on missions for the World Bank, when he first started seriously taking photographs. He chose to abandon a career as an economist and switched to photography in 1973, working initially on news assignments before veering more towards documentary-type work. Salgado initially worked with the photo agency Sygma and the Paris-based Gamma, but in 1979, he joined the international cooperative of photographers Magnum Photos. He left Magnum in 1994 and with his wife Lélia Wanick Salgado formed his own agency, Amazonas Images, in Paris, to represent his work. He is particularly noted for his social documentary photography of workers in less developed nations. They reside in Paris. He has been a UNICEF Goodwill Ambassador since 2001. Salgado works on long term, self-assigned projects many of which have been published as books: The Other Americas, Sahel, Workers, Migrations, and Genesis. The latter three are mammoth collections with hundreds of images each from all around the world. His most famous pictures are of a gold mine in Brazil called Serra Pelada. Between 2004 and 2011, Salgado worked on "Genesis," aiming at the presentation of the unblemished faces of nature and humanity. It consists of a series of photographs of landscapes and wildlife, as well as of human communities that continue to live in accordance with their ancestral traditions and cultures. This body of work is conceived as a potential path to humanity’s rediscovery of itself in nature. In September and October 2007, Salgado displayed his photographs of coffee workers from India, Guatemala, Ethiopia and Brazil at the Brazilian Embassy in London. The aim of the project was to raise public awareness of the origins of the popular drink. Together, Lélia and Sebastião, have worked since the 1990s on the restoration of a small part of the Atlantic Forest in Brazil. In 1998, they succeeded in turning this land into a nature reserve and created the Instituto Terra. The institute is dedicated to a mission of reforestation, conservation and environmental education. Salgado and his work are the focus of the film The Salt of the Earth (2014), directed by Wim Wenders and Salgado's son, Juliano Ribeiro Salgado. The film won a special award at Cannes Film Festival and was nominated for the best Documentary Feature at the 2015 Academy Awards. Source: Wikipedia
Kenneth Josephson
Kenneth Josephson
United States
1932
Kenneth Josephson is an American photographer, born on July 1, 1932 in Detroit, Michigan. He completed his elementary education in Detroit. In 1953 after being sent in Germany by the United States Army he was trained in photolithography and aerial reconnaissance photography. In 1957 he earned a Bachelor of Fine Arts from the Rochester Institute of Technology, located in New York. There he studied under Minor White. In 1960 he earned a master's degree from the Institute of Design of the Illinois Institute of Technology. While studying there he was influenced by Aaron Siskind and Harry Callahan. After earning his master's degree in 1960 Kenneth Josephson worked at the School of the Art Institute of Chicago from 1960 to 1997, when he retired. In 1963 he co-founded the Society for Photographic Education with thirty other notable photographers. His works in the 1960s and 1970s which were focused on conceptual photography placed him at the forefront of conceptual photography. In 1972 he was awarded with the Guggenheim Fellowship grant by the John Simon Guggenheim Memorial Foundation. In 1975 and in 1979 he was awarded with the NEA grant by the National Endowment for the Arts agency. Many of his collections are found in museums such as the Metropolitan Museum of Art of New York City, the Museum of Contemporary Art, Chicago, the Smithsonian Institution in Washington, the National Museum of American Art and The Bibliothèque nationale de France in Paris. In 1977 and 1983 many of his works became part of exhibitions in Austria, the United Kingdom, Germany, the Netherlands, Sweden, Switzerland, and France.Source: Wikipedia Kenneth Josephson is recognized as one of the pioneers of conceptual photography. He has explored the concepts of photographic truth and illusion throughout his career, producing a varied oeuvre that utilizes a range of techniques from collage and construction to multiple exposures and single negative photographs. Focusing on what it means to make a picture, Josephson’s work playfully highlights the illusive nature of photography. New York State (1970) is one of Josephson’s most well known photographs, and one of a much larger series incorporating pictures within pictures. We see the artist’s arm, stretching over a body of water, and just above the horizon line he holds a picture of a ship. Positioning this ship so that it appears proportionally equal to a full-sized ship in the distance, the photograph is deliberately composed to draw attention to its artifice. Source: Yancey Richardson In 1963 he became a founding member of the Society for Photographic Education, and in 1964 his work was included in John Szarkowski’s exhibition, “The Photographer’s Eye,” which traveled internationally to forty venues from 1964 to 1972. Josephson received his first museum retrospective in 1999–2000 at the Art Institute of Chicago and the Whitney Museum. His work is featured in numerous collections around the world and his monographs include: Kenneth Josephson Museum of Contemporary Art, Chicago, 1983; Kenneth Josephson: A Retrospective The Art Institute of Chicago, 1999; Kenneth Josephson: The First Fifty Years Stephen Daiter Gallery, 2008; Kenneth Josephson: Matthew 2054 Press and Stephen Daiter Gallery, 2012; Kenneth Josephson: Selected Photographs Only Photography, 2013; and The Light of Coincidence: The Photographs of Kenneth Josephson University of Texas Press, 2016.Source: Gitterman Gallery
Cig Harvey
Cig Harvey
United Kingdom
1973
The photographs and artist books of Cig Harvey have been widely exhibited and remain in the permanent collections of major museums and collections, including the Museum of Fine Arts, Houston, Texas; the Farnsworth Art Museum, Rockland, Maine; and the International Museum of Photography and Film at the George Eastman House, Rochester, New York. Cig began working in a darkroom at thirteen and has been dedicated to photography ever since. She grew up in the deep valleys of Devon in the UK, and came to the States for her MFA in 1999, after years spent living in Barcelona and Bermuda. Cig Harvey's first monograph, You Look At Me Like An Emergency (Schilt Publishing, 2012,) is a collection of ten years of pictures and written vignettes. It sold out in all printings and was named one of PDNʼs Best Books of the Year 2012. Cig had her first solo museum show at the Stenersen Museum in Oslo, Norway, in conjunction with the release. The book was well reviewed in a number of publications, including The Independent, Aesthetica, the Boston Globe, Blink, and PDN. Pro Photographer magazine ran an in depth feature, "Chance: Cig Harvey's deceptively simple photographs tap into the universal elements of the human experience: love, loss, longing and belonging. She's in demand for editorial and commercial work-as well as her for her fine art prints and books." Cig Harvey's second monograph, Gardening at Night (Schlit Publishing, 2015,) was published in conjunction with solo shows at Robert Mann Gallery, New York, Robert Klein Gallery, Boston and Paul Kopeiken Gallery, Los Angeles. The book received critical acclaim with features and reviews in Vogue, The Telegraph, the International Wall Street Journal, the International New York Times, and Aesthetica among others. The International Wall Street Journal said of the series, "Though the subjects and setting are familiar to us, we cannot help but feel that Cig Harvey has led us through the looking glass to a world of wonder. In the way that twilight is not quite day and not quite night, the photographs of Gardening at Night are stories not yet fully developed, while still capturing the unexpected yet oddly harmonious moments that surround us daily." Cig Harvey's work has been displayed at Paris Photo, Art Miami, and AIPAD every year since 2006. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women. Cig's devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper's Bazaar Japan, Kate Spade, and Bloomingdales. Cig teaches workshops and regularly speaks on her work and processes at institutions around the world. She is known for her high energy, sense of humor and creativity. She brings a profound sense of optimism to all that she does. Cig lives in a farmhouse in the Midcoast of Maine with her husband Doug (who has the profile of an emperor on a Roman coin), their wayward daughter Scout, and Scarlet the dog (the original baby). The slow passing of time and the natural surroundings of her rural home has made her alert to the magic in the mundane. Articles Discover Cig Harvey's Interview Find out more about Cig Harvey in this article
Jim Goldberg
Jim Goldberg
United States
1953
Jim Goldberg (born 1953) is an American artist and photographer, whose work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream populations. Among the many awards Goldberg has received are three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize. His works have been exhibited, published, and collected internationally. Goldberg is Professor Emeritus at the California College of the Arts, and has been a member of the Magnum Photos agency since 2002. He currently lives and works in the greater Bay Area. Goldberg is best known for his photography books, multi-media exhibitions, and video installations, among them: Rich and Poor (1985), Nursing Home, Raised by Wolves (1995), Hospice, and Open See (2009). His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations that investigate the nature of American myths about class, power, and happiness. Goldberg is part of an experimental documentary movement in photography, using a straightforward, cinéma vérité approach, based on a fundamentally narrative understanding of photography. The individuality of the subjects emerges in his works, "forming a context within which the viewer may integrate the unthinkable into the concept of self. Thus portrayed, this terrifying other is restored as a universal." Goldberg's work was featured with that of Robert Adams and Joel Sternfeld in a 1984 exhibition at the Museum of Modern Art entitled "Three Americans"; the exhibition was described as "a show of politically charged and socially conscious images." His 1985 book Rich and Poor, re-released by Steidl in an expanded edition in 2014, includes photographs of people in their homes along with handwritten comments by them about their lives. For example, the handwriting under the photograph reproduced on the front cover reads "I keep thinking where we went wrong. We have no one to talk to now, however, I will not allow this loneliness to destroy me,— I STILL HAVE MY DREAMS. I would like an elegant home, a loving husband and the wealth I am used to. Countess Vivianna de Bronville." Although the book received one mixed review shortly after publication, other reviews were positive, and it was later selected as one of the greatest photobooks of the 20th century. The photographs in a 1986 exhibition of Goldberg's The Nursing Home Series were accompanied by handwritten text by the nursing home residents who were the subjects of the photographs. A review of a 1990 exhibition Shooting Back: Photography by and About the Homeless at the Washington Project for the Arts characterized the exhibition as "Issue Art" and characterized Goldberg as "a superior Issue Artist because he's a superior artist." A major mixed-media exhibition by Goldberg concerning at risk and homeless youth in California entitled Raised by Wolves began traveling in 1995 and was accompanied by a book of the same title. A review of the exhibition at the Corcoran Gallery of Art noted that Goldberg made reference to other artists and photographers; used photographs, videos, objects, and texts to convey meaning; and "let his viewers feel, in some corner of their psyches, the lure of abject lowliness, the siren call of pain." Although the accompanying book received one mixed review shortly after publication, it was described as "a heartbreaking novel with pictures", and in The Photobook: A History, Martin Parr and Gerry Badger praised it as "complex and thoughtful." A 1999 mixed media installation at the San Francisco Arts Commission gallery entitled "57/78/97" explored race relations in the United States, including the Little Rock Crisis of 1957, the 1978 Regents of the University of California v. Bakke decision, and the year following the passage of California Proposition 209 (1996) concerning affirmative action. Selected photographs from a series by Goldberg called "Open See," concerning refugees, immigrants, and trafficked people, were first exhibited in San Francisco in 2007. One review stated that the photographs may leave the viewer "paralyzed by uncertainty about what might alleviate the injustices" depicted. Part of the series came to be known as "Open See", and Goldberg's book of that title was published in 2009 by Steidl. In 2013 Goldberg was an artist in residence at Yale University Art Gallery with Donovan Wylie. They each created a body of work based in New Haven. In Candy, Jim Goldberg, a New Haven native, creates a multilayered photo-novel of aspiration and disillusionment, interspersing Super 8 film stills, images of New Haven’s urban landscape, annotated Polaroid portraits, and collaged archival materials to explicate the rise and fall of American cities in the 20th century. Goldberg considers New Haven’s quest to become a “model city” of America, contrasting its civic aspirations with its citizens’ lived realities.Source: Wikipedia Jim Goldberg’s innovative use of image and text make him a landmark photographer of our times. He has been working with experimental storytelling for over forty years, and his major projects and books include Rich and Poor (1977-85), Raised by Wolves (1985-95), Nursing Home (1986), Coming and Going (1996-present), Open See (2003-2009), The Last Son (2016), Ruby Every Fall (2016), Candy (2013-2017), Darrell & Patricia (2018), and Gene (2018). His work is in numerous private and public collections including the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Getty, and the Los Angeles County Museum of Art. He is the recipient of numerous awards including three National Endowment for the Arts Fellowships, a Guggenheim Fellowship (1985), the Henri Cartier-Bresson Award (2007), and the Deutsche Börse Photography Prize (2011). Goldberg is Professor Emeritus at the California College of the Arts and is a member of Magnum Photos.Source: Magnum Photos An heir to such social documentarians as Walker Evans and Robert Frank, Goldberg is inspired and informed by his ongoing interest in people and their positions in society as a function of broader cultural policies and practices. His work is the aesthetic embodiment of Frank’s opinion that “the truth is somewhere between the documentary and the fictional.”Source: Pace/MacGill Gallery
Constanza Hevia H.
Constanza Hevia H.
Chile
1985
Constanza Hevia H. is a Chilean photographer who is based in San Francisco, California. Her appreciation and curiosity about the life of ordinary people has led her to use photography as a tool of social observation. Intrigued by everyday life scenes, one of her main goals is to document and leave testimony about the strengths and weaknesses of human nature.
Joel Sternfeld
Joel Sternfeld
United States
1944
Joel Sternfeld (born June 30, 1944) is an American fine-art color photographer. He is noted for his large-format documentary pictures of the United States and helping establish color photography as a respected artistic medium. Sternfeld's work is held in the collection of the Museum of Modern Art in New York. Sternfeld earned a BA from Dartmouth College and teaches photography at Sarah Lawrence College in New York. He began taking color photographs in 1970 after learning the color theory of Johannes Itten and Josef Albers. Color is an important element of his photographs. American Prospects (1987) is Sternfeld's most known book and explores the irony of human-altered landscapes in the United States. To make the book, Sternfeld photographed ordinary things, including unsuccessful towns and barren-looking landscapes. On This Site: Landscape in Memoriam (1997), is about violence in America. Sternfeld photographed sites of recent tragedies. Next to each photograph is text about the events that happened at that location. From 1991 to 1994 Sternfeld worked with Melinda Hunt to document New York City's public cemetery on Hart Island, resulting in the book Hart Island (1998). Sternfeld has also published books about social class and stereotypes in America: Stranger Passing (2001), an abandoned elevated railway in New York: Walking the High Line (2002), and Sweet Earth: Experimental Utopias in America (2006). When It Changed (2007) contains close-up portraits of delegates debating global warming at the 2005 United Nations Climate Change Conference in Montreal.Source: Wikipedia Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience. Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980). On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge. Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018). All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole. His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future. Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.Source: www.joelsternfeld.net Joel Sternfeld is well known for large-format color photographs that extend the tradition of chronicling roadside America initiated by Walker Evans in the 1930s. Sternfeld's projects have consistently explored the possibility of a collective American identity by documenting ordinary people and places throughout the country. Each project he embarks on is bound by a concept that imbues it with subtle irony, often through insightful visual juxtapositions or by pairing images with informational text. Another characteristic aspect of Sternfeld's work is that color is never arbitrary; it functions in highly sophisticated ways to connect elements and resonate emotion. Sternfeld earned a BA in Art from Dartmouth College in 1965. He began making color photographs in the 1970s after learning the color theory of Johannes Itten and Josef Albers. He initially made street photographs with small- and medium-format cameras, but by the time he produced what would become a seminal project, American Prospects (1987), he was working with an eight-by-ten-inch camera. This enabled him to achieve the crisp details his work is known for. Sternfeld's style-his careful attention to visual qualities combined with an insightful and often ironic view of his subjects was first articulated in American Prospects. One of his best-known images, for example, depicts a fireman shopping for a pumpkin as a house burns in the background. The pumpkins' vibrant oranges match the autumnal colors of the countryside, and ironically, the fire's flames.Source: The J. Paul Getty Museum
Gianluca Mortarotti
Gianluca Mortarotti
Italy
1990
My name is Gianluca Mortarotti, and I'm a self-taught photographer from Rome currently based in London, UK. My passion for photography started at a young age, thanks in part to my father's work as a wedding photographer. However, it wasn't until after my studies that I decided to take photography more seriously. I'm fascinated by the energy of cities and the candid moments that tell a story and I've always been drawn to the contrasts of urban life and the connections between people that can seem strange and unusual. Through my work, I try to explore these themes with a fresh and unexpected approach, creating a consistent and attractive aesthetic that is both narrative and metaphorical in its meaning. I believe that the world around us is full of hidden beauty that often goes unnoticed, and I like to create tension in my images by juxtaposing contrasting elements and highlighting the unusual connections between them, aiming to create a sense of intrigue and encourage the viewer to look closer and engage with the image on a deeper level. For me, photography is not just about documenting reality but using it as a means of expression to shed light on life beyond mere appearances. Statement: More than a camera, I have a tool for storytelling. My goal is to use photography as a means to reveal the unseen and to present a fresh, intriguing, and personal view of the world. Winner AAP Magazine #30 Shadows
Isabeau De Rouffignac
Isabeau De Rouffignac
France
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Reiko Takahashi
Reiko Takahashi
Japan
Reiko Takahashi is a Professional Japanese underwater photographer. She grew up in a seaside, it was natural to be absorbed in the underwater scenery. In 2017, She quit her full-time job as a semiconductor engineer and started her career as a photographer, shooting the oceans around the world. She has won the 2018 National Geographic Grand Prix and many international Photo awards.
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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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