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Dennis Stock
Dennis Stock

Dennis Stock

Country: United States
Birth: 1928 | Death: 2010

Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.

(Source: en.wikipedia.org)

Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.

(Source: Magnum Photos)

 

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Doris Ulmann
United States
1882 | † 1934
Doris Ulmann was an American photographer, best known for her portraits of the people of Appalachia, particularly craftsmen and musicians, made between 1928 and 1934. Doris Ulmann was a native of New York City, the daughter of Bernhard and Gertrude (Mass) Ulmann. Educated at the Ethical Culture Fieldston School, a socially liberal organization that championed individual worth regardless of ethnic background or economic condition and Columbia University, she intended to become a teacher of psychology. Her interest in photography was at first a hobby but after 1918 she devoted herself to the art professionally. She practiced Pictorialism and was a member of the Pictorial Photographers of America. Ulmann documented the rural people of the South, particularly the mountain peoples of Appalachia and the Gullahs of the Sea Islands, with a profound respect for her sitters and an ethnographer's eye for culture. Ulmann was trained as a pictorialist and graduated from the Clarence H. White School of Modern Photography. Other students of the school who went on to become notable photographers include Margaret Bourke-White, Anne Brigman, Dorothea Lange, Paul Outerbridge, and Karl Struss. Her work was exhibited in various New York galleries, and published in Theatre Arts Monthly, Mentor, Scribner's Magazine, and Survey Graphic. Ulmann was married for a time to Dr. Charles H. Jaeger, a fellow Pictorialist photographer and an orthopedic surgeon on the staff of Columbia University Medical School and a likely connection for her 1920 Hoeber publication The Faculty of the College of Physicians & Surgeons, Columbia University in the City of New York: Twenty-Four Portraits. This was followed in 1922 by the publication of her Book of Portraits of the Medical Faculty of the Johns Hopkins University; the 1925 A Portrait Gallery of American Editors, and in 1933, Roll, Jordan Roll, the text by Julia Peterkin. The fine art edition of Roll, Jordan Roll is considered to be one of the more beautiful books ever produced. In an interview with Dale Warren of Bookman, Doris Ulmann referred to her particular interest in portraits. "The faces of men and women in the street are probably as interesting as literary faces, but my particular human angle leads me to men and women who write. I am not interested exclusively in literary faces, because I have been more deeply moved by some of my mountaineers than by any literary person. A face that has the marks of having lived intensely, that expresses some phase of life, some dominant quality or intellectual power, constitutes for me an interesting face. For this reason the face of an older person, perhaps not beautiful in the strictest sense, is usually more appealing than the face of a younger person who has scarcely been touched by life." Ulmann's early work includes a series of portraits of prominent intellectuals, artists and writers: William Butler Yeats, John Dewey, Max Eastman, Sinclair Lewis, Lewis Mumford, Joseph Wood Krutch, Martha Graham, Anna Pavlova, Paul Robeson, and Lillian Gish. From 1927, Ulmann was assisted on her rural travels by John Jacob Niles, a musician and folklorist who collected ballads while Ulmann photographed. In 1932 Ulmann began her most important series, assembling documentation of Appalachian folk arts and crafts for Allen Eaton's landmark 1937 book, Handicrafts of the Southern Highlands. In failing health, she collapsed in August 1934 while working near Asheville, North Carolina, and returned to New York. Ulmann died August 28, 1934. Upon Ulmann's death, a foundation she had established took custody of her images. Allen Eaton, John Jacob Niles, Olive Dame Campbell (of the John C. Campbell Folk School in Brasstown, North Carolina), Ulmann's brother-in-law Henry L. Necarsulmer, and Berea schoolteacher Helen Dingman were named trustees. Samuel H. Lifshey, a New York commercial photographer, developed the negatives Ulmann had exposed during her final trip, and then made proof prints from the vast archive of more than 10,000 glass plate negatives. (Lifshey also developed the 2,000 exposed negatives from Ulmann's last expedition, and produced the prints for Eaton's book.) The proof prints were mounted into albums, which were annotated by John Jacob Niles and Allen Eaton, chair of the foundation and another noted folklorist, to indicate names of the sitters and dates of capture. The Georgia Museum of Art at the University of Georgia organized a major retrospective of her work in 2018 and published the largest book on her work to date. The Library of Congress Prints & Photographs Division holds more than 150 photographic prints by Ulmann.Source: Wikipedia
Elisabeth Ajtay
Germany
1978
An artistic journey commenced amidst the vibrant Hungarian art scene, where the artist studied drawing, jewelry making, graphic design, photography, and contemporary dance. While an initial passion lay in drawing and painting, photography swiftly emerged as her primary voice. Further skill development was achieved through a diploma in communications design from the University of Applied Sciences Dortmund in Germany, followed by an MFA from the San Francisco Art Institute. These educational experiences, coupled with a childhood spent navigating different cultural landscapes, have profoundly shaped Ajtay's perspective. The artist's conceptual work delves into themes of home and belonging, the psychology of language, the impact of societal change, and the spectrum of human emotions and the soul. Their practice is deeply rooted in personal experiences as a migrant and nomad, marked by constant adaptation to new environments that necessitate a complete rewiring of the brain, total openness, and reorientation. Change, identified as life's most constant aspect, lies at the core of her explorations, prompting deep dives into reorientation, loss, the unknown, and even death. ELisabeth Ajtay's work is held in numerous private collections and has been exhibited internationally across Europe and the United States. Notable venues include festivals such as inSPIRACJE and Art Moves in Poland, Goethe Institutes in Morocco, Prague, New York, and France, and galleries like Don Soker Contemporary Art in San Francisco. Museum exhibitions include the MKK - Museum for Art and Cultural History Dortmund, Germany, and Blue Star Contemporary in San Antonio, Texas. Recognition has come in the form of an honorable mention from PX3-Prix de la Photographie Paris, inclusion in the San Francisco Arts Commission's Prequalified Artist Pool, and residencies at the 3rd Street Studio Programs (San Francisco Art Institute), BANFF Center for Arts and Culture (Canada), and the Vermont Studio Center. She received several honorable mentions from the International Photography Awards. Towards Perfection: Series MoonABC "Towards Perfection" is a digital collage, composed entirely of circles, represents the challenges I faced while creating my moon alphabet. Each circle is a testament to the difficulties, frustrations and endurance encountered in capturing the letter 'O' using the moonlight as I was slowly moving my camera. About the series: The idea of creating a moon alphabet started somewhere in 2014 with me sitting on the stairs in front of my house in SF, finding calm in the ever present light of the moon. I was working on my artist visa and tied down with no status, no existence - practically being an alien resident on hold - I had plenty of time thinking about how I could push my work with the moon further. Further, in terms of overcoming that what is visible. The moon has been exposed and explored to numerous artistic expressions and, scientific ones. I did not mean to repeat but to expand. Also, having been working for almost 20 years with a camera, there are moments when I am tired of the medium. I began making art with my hands first, drawing, painting and even dancing for many years I would consider a very physically based expression. Making images with a camera is very different, the body is less involved, instead, a lot of editing and thinking, once the "klick" happened. One night I simply grabbed my camera and began tracing the light. First randomly, then more purposefully, with the solely intention of putting my body into the image. Movements. After some time, I wrote my initials and from there, I began practicing the remainder of the letters. At some point, Alan Bamberger, told me what I was actually doing - a moon font. It took me another year to complete the alphabet and train my hand to as much perfection as my body was able to offer. During these two years, I was reading numerous books on communication and technology. The points that fascinated me outlined how technology effects our brains, the level of empathy and how we change our social patterns within society. Those readings were my "back ups" in exploring my physicality in conversation with nature, or, the physicality of the moon. On another level, creating an alphabet is to some extent a reflection of my multilingual presence. It is sometimes hard phrasing thoughts when the tongue is moving differently, or you have another language's rhythm inside you. It can confuse, cause mayonnaise. Having babel inside and on the outside (history repeats itself).
Lee Friedlander
United States
1934
Lee Friedlander (born July 14, 1934) is an American photographer and artist. In the 1960s and 70s, working primarily with 35mm cameras and black and white film, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street-signs. Friedlander studied photography at the Art Center College of Design located in Pasadena, California. In 1956, he moved to New York City where he photographed jazz musicians for record covers. His early work was influenced by Eugène Atget, Robert Frank, and Walker Evans. In 1960, the Guggenheim Memorial Foundation awarded Friedlander a grant to focus on his art and made subsequent grants in 1962 and 1977. Some of his most famous photographs appeared in the September 1985 Playboy, black and white nude photographs of Madonna from the late 1970s. A student at the time, she was paid only $25 for her 1979 set. In 2009, one of the images fetched $37,500 at a Christie's Art House auction. Working primarily with Leica 35mm cameras and black and white film, Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life. In 1963, the International Museum of Photography at George Eastman House mounted Friedlander's first solo exhibition. Friedlander was then a key figure in curator John Szarkowski's 1967 "New Documents" exhibition, at the Museum of Modern Art in New York City along with Garry Winogrand and Diane Arbus. In 1973, his work was honored in Rencontres d'Arles festival (France) with the screening "Soirée américaine : Judy Dater, Jack Welpott, Jerry Uelsmann, Lee Friedlander" présentée par Jean-Claude Lemagny. In 1990, the MacArthur Foundation awarded Friedlander a MacArthur Fellowship. Friedlander now works primarily with medium format cameras (e.g. Hasselblad Superwide). Whilst suffering from arthritis and housebound, he focused on photographing his surroundings. His book, Stems, reflects his life during the time of his knee replacement surgery. He has said that his "limbs" reminded him of plant stems. These images display textures which were not a feature of his earlier work. In this sense, the images are similar to those of Josef Sudek who also photographed the confines of his home and studio. He was awarded The Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2003. In 2005, the Museum of Modern Art presented a major retrospective of Friedlander's career, including nearly 400 photographs from the 1950s to the present. In the same year he received a Hasselblad International Award. The retrospective exhibition was presented again in 2008 at the San Francisco Museum of Modern Art. Concurrent to this retrospective, a more contemporary body of his work, America By Car, was displayed at the Fraenkel Gallery, also in San Francisco. "America By Car" was on display at the Whitney Museum of American Art in New York City in late 2010. He is the father of cellist Erik Friedlander, and Anna Friedlander. Source: Wikipedia
Bryan Adams
Canada
1959
Adams works as a photographer as well as musician, aside from being published in British Vogue, L'uomo Vogue, Harper's Bazaar, Esquire, Interview magazine and i-D, among others, he has also shot advertising campaigns for Guess Jeans, Sand, Converse, Montblanc, John Richmond, Fred Perry, and more recently for Escada. He has won Lead Awards twice in Germany for his fashion work, most recently June 2012 and previously in 2006. Other photographic endeavours include founding the art fashion Zoo Magazine, based in Berlin, Germany for which he shoots for regularly. His first book of photos will be released by Steidl in 2012 entitled Exposed. Previous published collaborations include; American Women June 2005, for Calvin Klein in the United States; proceeds from this book went to Memorial Sloan–Kettering Cancer Center in New York City for their breast cancer research for programs, and Made in Canada December 1999 for Flare Magazine in Canada; proceeds went to the Canadian Breast Cancer Foundation. Both books were dedicated to his friend Donna, who died of the disease. As a photographer, Adams has worked with many of his musical peers, including Lana Del Rey, The Who, Sting, Shania Twain, Mick Jagger, Arcade Fire, Ray Charles, Tina Turner, Rod Stewart, Robert Plant, Take That, Joss Stone, Plácido Domingo, Sarah McLachlan, Celine Dion, Billy Idol, Moby, Lindsay Lohan, Amy Winehouse, Annie Lennox, Peter Gabriel, Bryan Ferry, Lenny Kravitz, Die Antwoord, and Morrissey to name a few. On 27 November 2000 Adams played onstage with The Who at the Royal Albert Hall. A DVD of the concert was issued. Adams photographed the band and his photos appear in the DVD booklet. In 2002, Adams was invited, along with other photographers from the Commonwealth, to photograph Queen Elizabeth II during her Golden Jubilee; one of the photographs from this session was used as a Canadian postage stamp in 2004 and again in 2005 (see Queen Elizabeth II definitive stamp (Canada)), another portrait of both Queen Elizabeth II and Prince Philip is now in the National Portrait Gallery in London. Adams supports the Hear the World initiative as a photographer in its aim to raise global awareness for the topic of hearing and hearing loss. He photographed Michael J. Fox and Tatjana Patitz in the 2011 Carl Zeiss AG company calendar in New York City in the summer of 2010. The focus was about the size difference of the subjects in a comedic presentation. In 2011, Adams provided the cover art for Lioness: Hidden Treasures, a posthumous release by Amy Winehouse.Source: Wikipedia Rock Icon Bryan Adams' lifelong interest in photography turned into a vocation when he began shooting for fashion magazines and advertisers more than a decade ago. But it's not all models and celebrities: He most recently turned his lens on 40 British soldiers returning from Iraq and Afghanistan. His series Wounded: The Legacy of War, the subject of a 2013 book from Steidl and an exhibit at London’s Somerset House on display this month through Jan. 25, showcases the brutal (and all too common) injuries incurred in battle. "I didn't like the fact that people were getting so badly hurt, so many people were killed, were displaced, forgotten. This is my statement," says Adams, 55. On the legacy of the images, he says, "I hope [people] realize that these guys made an incredible sacrifice. War is disgusting and this is the result of what happens when we decide to beat each other up."Source: Billboard
Mona Singh
Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision. She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world. Silent Colors: "Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan. She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
Christine Armbruster
Although a recent graduate of Brigham Young University with her Bachelor of Fine Art degree in Photography (2012), Christine Armbruster has managed to work on various projects and get published internationally. Working as a photojournalist in the Dominican Republic, Christine created her first solo show called "Working Identities: a collection of portraits from the Dominican Republic" which showed for a full year in 2009. This show was viewed all over Utah and various pieces won awards for documentary photography. The photojournalism work completed while there was published all of the world for papers such as USA Today and Dominican Today. Next on the list was Bosnia. Armbruster got grants and went to Sarajevo where the project, "Mortar Shells and Cigarettes", was completed. Walking the streets of Sarajevo for over a month, she captured these as a reaction to a city still recovering from war. The show exhibited in Utah as well as pieces were sent away to competitions in Texas. Prior to going to Bosnia, Armbruster started what would turn into a 2 year project in Utah, photographing town with populations of 800 people or less, called "Population 800." This small town documentary has shown throughout Utah and became her senior thesis for graduation. Since those shows have been completed, Armbruster has since traveled extensively to shoot two more projects still being edited. The first in collapsed Soviet towns and the second of Bedouins living in caves in the Arabian Desert. Additionally, Armbruster has blended her documentary interests with her commercial photography degree to work for international clients. Some of these clients have included The Travel Chanel, KT Tape, Blendtec Blenders, The Church of Jesus Christ of Later-Day Saints, Chicago Cultural Center, Petra Caravan Tours, and Bedouin Brothers Tour Group. Armbruster is committed to exploring the world of social change through art. Blending her education of commercial photography with her candid aesthetic, she is able to tell stories and capture people in their natural elements. She is currently based out of Chicago, working as an editorial travel photographer. About Working Identities: The first woman in this series is the inspiration behind this project. As I was walking around the market near my Dominican home, I came across an older woman by the name of Rosa Santana. I photographed her at her vegetable cart, she then grabbed my hand and insisted that I photograph every member of her family in our little community. Leading me inside stores converted out of modest houses and through narrow alleyways into small-enclosed spaces made of stucco with a single mattress inside. Each new home, whether large or small had a family member inside to be photographed. One of her daughters particularly struck me by the way she showed me the objects on the wall illustrating her own three children. As I thought about these seemingly strange dolls and single photograph nailed to the wall, I began to realize how not only do they represent her children, but the different ways we represent and give an identity to the people around us. As I photographed in the Dominican Republic, I began to realize that I was categorizing people, trying to collect one of everything for myself. These people I was collecting were not based on location or look, but rather by profession. I looked for the stereotypical from the butcher to the security guard, but then to the boy who fixes bicycles in front of his house in Santo Domingo and the even younger children who pick coffee beans in the mountains of Jarabacoa. Each of these people have an identity created not by the symbolic objects used to represent them, but rather by an occupation. With this some gain a definition in society, while others are generalized. I chose to explore these occupations not just as types, but rather go deeper to discover each person as individuals. How each person is an individual although they may do the same thing as handfuls of others everyday, how we are all Working Identities.Source: www.christinearmbruster.com Interview With Christine Armbruster: All About Photo: When did you realize you wanted to be a photographer? Christine Armbruster: "It wasn't until I was twenty that I even considered it. I had always wanted to be in filmmaking and it wasn't until I was on my first real film set involving a week of 15-hour days that I decided I should reconsider. So i went with the next closest thing which was photography, and it just kind of stuck." AAP: Do you remember your first shot? What was it? CA: "After my freshman year of college I was inspired by a good friend who studied photography and got my first "good camera". For months I photographed so many close up shots of industrial parts and weird metal things. My first memorable photographs, however, that I really feel like began to develop my style, are a few portraits of train hoppers in Austin, Texas later that summer. I sat on the ground with them and got to know them before asking to photograph their faces covered with tattoos and their accompanying dogs. Ever since I have been a little obsessed with train hoppers and spent handfuls of time with them. It's a surprise to me that I have still yet to hop a train of my own." AAP: What or who inspires you? CA: "Life around me and newness inspires me. There was once a photographer who said that when he stays in one place for too long he goes blind. I feel very similar. I unfortunately never photograph where I live after I have been there for a few months, it is just so common to me. But that is something I am working on so I can practice sitting still for slightly longer stints. He said he hadn't paid rent in 16 years, I feel like that could become my fate which is both exciting and daunting to me." AAP: How could you describe your style? CA: "I would describe my style as very natural and quiet. I am not in your face and not trying to be loud and force heart wrenching subjects on you. I just want things to be as they are, as beautiful and simple as they are in natural light, portraying people are the strong individuals as they are." AAP: What kind of gear do you use? Camera, lens, digital, film? CA: "I try to use film as much as possible. Digital just doesn't do it for me. There is something natural and more real to me when I use film. Maybe it is because I slow down or take the images more seriously. I have a Bronica ETRS medium format camera with a fixed 85mm lens that is always on my back loaded with Kodak Portra film." AAP: Do you spend a lot of time editing your images? CA: "I can't hold still long enough to edit my images! I would rather be shooting than in front of a computer, which is partially why I shoot so much film. When I first started photographing, I got a job with a newspaper. With newspapers heavily editing images will cost you your job. It got me in the practice of shooting right the first time and learning how to shoot without relying on Photoshop to make my images speak." AAP: Favorite(s) photographer(s)? CA: "I am currently really into Jonas Bendiksen and Jim Goldberg. I have always loved Olga Chagaoutdinova, Diane Arbus, and Pierre Verger." AAP: What advice would you give a young photographer? CA: "Shoot all the time! Someone once told me that you need to make a lot of crap before anything good comes out of it." AAP: What mistake should a young photographer avoid? CA: "Following trends. Trends are in my opinion one of the worst things a photographer can follow. Your work will be catchy for a moment then once trends shift you will be left with having to redefine your personal style again only to possibly fall into the same trap. Shoot what you like, it will become your own style. Everyone else is already photographing the trends, try something different. Classic and well done photography will always be in style and you will always have work." AAP: An idea, a sentence, a project you would like to share? CA: "I am currently working on editing a project shot in Jordan about nomads who have been forced into settling but are resisting and moving back to caves and tents as they lived for thousands of years. That is a cool project I worked on all last winter, living in caves, collecting water, and walking with shepherds. That should be a pretty cool project once I get the storyline a little more organized." AAP: Your best memory as a photographer? CA: "I am so sentimental. I feel like every time I travel it was the best place yet, every person I photograph is so beautiful and interesting, and that every situation I have been in was the most idea. I guess that is part of the human experience and the glory of photographing. It is an excuse to walk with nomads, a reason to hitchhike across Russia, a motivation to travel and create. I already have a lifetime of memories and stories for grandchildren, and I am only 5 years into my career." AAP: Your worst souvenir as a photographer? CA: "I have a good handful of scars from not paying attention to where I'm walking while trying to get an image and a broken camera or two from sandstorms I was not prepared for." AAP: If you could have taken the photographs of someone else who would it be? CA: "Pierre Verger. He has such beautiful timeless style and dead perfect tonal ranges. He got to travel the world and experience so many things hands on from the Harlem Renaissance to religious ceremonies from underground cults in Brazil. I think he was working in just the right time and had some of the most guts from any photographer I have ever seen. He wasn't afraid and I love that about him."
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Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry