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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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Ralf Peters
Ralf Peters
Ralf Peters

Ralf Peters

Country: Germany
Birth: 1960

In the series "24 Hours" Peters reflects on the moment of simultaneousness. He dissolves the visual antagonism between the moment before and afterwards in each image. The works represent the light cycle of one day, starting from the left at night, passing daylight and ends again in the darkness of the night. The time states are not superimposed one upon the other but set side by side. In an extraordinary technique Ralf Peters obtains that the transition of the different daytimes is shown as in fast motion and is continued without any cuts, but can be noticed in the brightness and the illumination of the motif. Day and night are united in one image and at the same time, appearing invisible and visible. The variety of subjects going from exotic landscapes to cool architecture allows a reflection about our own world and foreign surroundings referring to a superior relationship of time and space.

(Source: Diana Lowenstein Gallery)

Ralf Peters is a conceptual photographer who creates visual studies of places and objects, often in thematic series. Playfully navigating between fantasy and reality, Peters manipulates digital images to challenge the viewer’s conception of traditional photography, raising the question as to whether something is a realistic rendering or a skillfully manipulated vision. Through the creation of portraits of everyday locations like supermarkets, gas stations, and swimming pools, Peters explores the possibilities for the photographic medium. Manipulating the focus, lighting, and composition of his images, Peters creates photographs that obscure the traditional notion of capturing an individual’s perspective on reality, favoring, instead, constructed works that comment on the aesthetic relationship we have to our surrounding environment. Peters’s works have been shown at notable institutions including the Hamburg Kunsthalle and Museu de Arte Moderna de São Paulo.

(Source: Art Space)

Represented by:
Diana Lowenstein Gallery
Galerie Kornfeld
Galerie Bernhard Knaus Fine Art
Galerie Martin Mertens
Galerie Andres Thalmann

Selected Books on Available on Amazon
Ralf Peters: Until Today
Ralf Peters: Until Today
Ralf Peters, Klaus Honnef, Renate Puvogel

Website

www.ralfpeters.info

 

Selected Books

Ralf Peters: Until Today
Ralf Peters: Until Today
Ralf Peters, Klaus Honnef, Renate Puvogel

Inspiring Portfolios

Aline Smithson
© Aline Smithson
Lydia Panas
© Lydia Panas
Grace Weston
© Grace Weston
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More Great Photographers To Discover

Pierre Verger
Pierre Verger
France
1902 | † 1996
Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Praveen Emmanuel
Praveen Emmanuel
India
1982
Praveen Emmanuel is an award winning documentary photographer working closely with various people-groups and international NGOs. He graduated with a masters in journalism & communication and his body of work spans over two decades. His photographs are globally recognised and have been featured in renowned publications and exhibitions around the world. Praveen currently lives in Chennai with his wife and three children.
Jonathan Chritchley
Jonathan Chritchley
United Kingdom
Jonathan Chritchley is one of the foremost fine art photographers in the world today. His instantly recognizable work is seen around the world in exhibitions, galleries, magazines and books, and form part of many fine art collections internationally. His regular clients include Ralph Lauren, Hilton International, Fortuny and P&O Luxury Cruises. Jonathan also speaks and presents his work at photography and sailing events worldwide, and is the founder and owner of Capture Earth and Ocean Capture, two companies specializing in luxury photography workshops & tours. Born in London, England, Jonathan became infatuated with the sea after moving to the famous sailing town of Lymington on the country's south coast at the age of 14. Years later, having moved to the South of France, he gave up a successful career as a marketing and brand director in order to return to his true passion; a combination of the sea and fine art photography. He has now worked in over 35 countries, including Mozambique, Japan, China, Cambodia, Chile, Greenland and South Africa. Jonathan was named one of the 'Top 100 Photographers of All Time' by the Sunday Times. His first book, SILVER, a 136 page fine art art edition, was published in 2014, and in 2016 he was made a Fellow of the Royal Geographical Society (FRGS). An active supporter of ocean conservation, Jonathan currently resides in the South of France with his wife and young family. Source: www.jonathanchritchley.com Jonathan Chritchley is a detail-obsessed perfectionist of black-and-white photography. Sections and details of his work allow us to delve into landscapes of the soul and are both relaxing and contemplative. Natural beauty does not mean perfection: to him it means uniqueness. And accordingly his photographs look like visions of the unknown and new. The atmosphere of his landscapes is not loud or spectacular but rather teases out a picturesque silence while playing with the power of nature, which he encounters in clearings in the forest, in the middle of the sea, or the panorama of a seascape. He explores the scene with his camera like a hiker and captures forces of nature – a stormy collection of clouds and treetops bent by the winds, or the tautly pulled and suddenly billowing sails – in impressive images. We can truly inhale the landscape in Chritchley’s works – sense the wind, the cold, the distance, the resistance – because he has confronted them confidently and persistently with his camera. Chritchley learned to sail as a boy on the south coast of England. He still preserves his excitement for the sport as well as sailing’s creativity and his inherent love of discovery, and he lives these actively in his photos. He abstractly choreographs the play of the wind in the sails. Billowing, cleverly cropped, sometimes full-bodied like a sculpture and momentarily rising to formidable heights, they can then in a split second give way in a windless sky. This creates an exciting scenario and offers aesthetic moments that fascinate more than just passionate sailors. He does not necessarily see himself as the “master of images” but rather as a curious observer of the canvas’s unpredictable moods. As a globetrotter, Chritchley has been a guest not only on all continents but also on the pages of many magazines and in many galleries. His singular sailing portraits are known and loved internationally. The landscapes and sailing scenes specially selected for LUMAS attest to the photographer’s creative diversity, above all in the realm of abstraction. Source: LUMAS
Yixu Wang
Yixu Wang
China
1999
I’m Yixu, born in Tangshan, Hebei, now living in London. My photography is a personal journey exploring identity, the pressures we feel from society, and the everyday traditions of my hometown. AAP Magazine: AAP Magazine #48 Portrait
Fan Ho
Fan Ho
China
1931 | † 2016
Fan Ho’s (born in Shanghai in 1931) photographic career started at the early age of 14 when given his first Kodak Brownie from his father. Within the first year he won his first award in 1949 in Shanghai. At the age of 18, he acquired his twin lens Rolleiflex with which he captured all his famous work after he moved to Hong Kong with his parents and continued to purse his love for photography. Dubbed the “Cartier-Bresson of the East”, Fan Ho patiently waited for ‘the decisive moment’; very often a collision of the unexpected, framed against a very clever composed background of geometrical construction, patterns and texture. He often created drama and atmosphere with backlit effects or through the combination of smoke and light. His favorite locations were the streets, alleys and markets around dusk or life on the sea. What made his work so intensely human is his love for the common Hong Kong people: Coolies, vendors, hawkers selling fruits and vegetables, kids playing in the street or doing their homework, people crossing the street… He never intended to create a historic record of the city’s buildings and monuments; rather he aimed to capture the soul of Hong Kong, the hardship and resilience of its citizens. Fan Ho was most prolific in his teens and 20s and created his biggest body of work before he reached the tender age of 28. His work did not go by unnoticed at his time. He won close to 300 local and international awards and titles in his day through competing in the salons. His talent was also spotted by the film industry where he started out as an actor before moving to film directing until retiring at 65. Fan Ho is a Fellow of the Photographic Society and the Royal Society of Arts in England, and an Honorary Member of the Photographic societies of Singapore, Argentina, Brazil, Germany, France, Italy and Belgium. He most recently won a "Life-time Achievement Award, the 2nd Global Chinese International Photography Award, China, 2015" by the Chinese Photographic Society (Guangzhou). During his long career he has taught photography and film making at a dozen universities worldwide. His work is in many private and public collection of which most notable are: M+ Museum, Hong Kong, Heritage Museum, Hong Kong, Bibliothèque National de France, Paris, France, San Francisco Museum of Modern Art, USA, Santa Barbara Museum of Art, USA and many more. Source: fanho-forgetmenot.com
Marjolein Martinot
Marjolein Martinot
The Netherlands
1965
Marjolein Martinot is a Dutch photographer, based in France. She has always been drawn to photography from an early age, and has continued using and exploring the medium throughout her life, while raising a family of six children. Her photography touches on the poetic, while striving to remain authentic and true at the same time. She aims to evoke sentiments by using and mixing different photographic approaches and analogue cameras. The prime focus of Marjolein’s work is on everyday life: family, friends, and the places and things that touch her. She has participated in various photography classes and workshops, and works on personal projects and commissions. Statement "Over the last years, photography has taken a very important place in my life. Although I didn’t realise it at the time when I started taking photo’s (years ago), it has now become a life-changing activity for me, and especially during the last couple of years. While photographing, I find that I am able to create some kind of outlet for myself. A way to travel, to step away from everyday life. Immersing in something - into another world, yet without physically having to go anywhere. I also discovered that I love taking portraits. When taking a portrait, the exchange/interaction with someone (often a stranger) is so intimate and special - hard to describe really. That tiny instance of someone’s personality coming through - managing to capture that, is truly an amazing experience. Those moments are always swift and evanish almost instantly though. Being a naturally shy person, these one-on-one encounters give me a real boost, a particular energy and a sense of confidence that I very much enjoy. With all my photography-work, I often try to evoke inner sentiments and feelings, while observing and drawing parallels to my own life. In my last photo-series, Riverland, I attempt to portray the way a meandering river compares to the always unexpected and unknown course life takes, and flows..."
Joyce P. Lopez
Joyce P. Lopez
United States
Joyce P. Lopez started out as a weaver, moved with her family to Copenhagen for three years, and upon returning moved into photography with an international p.o.v. Winning a number of international competitions, she established her own recognizable photography style and has continued working for over 40 years. Statement In my work, I photograph the beauty in the Natural World that is on the brink of extinction. The Earth series: "Each image is a separate problem that is happening to Earth." The Trouble with Birds series: "The number of birds we are losing due to collisions with buildings."
Ian Berry
Ian Berry
United Kingdom
1934
Ian Berry made his reputation as a photojournalist reporting from South Africa, where he worked for the Sunday Times and Drum magazine. He was the only photographer to document the massacre at Sharpeville. While based in Paris he was invited to join Magnum by Henri Cartier-Bresson. He moved to London to become the first contract photographer for the Observer Magazine. He has covered, conflict in Israel, Ireland, Vietnam, Czechoslovakia and Congo, famine in Ethiopia and apartheid in South Africa. He has also reported on the political and social transformations in China and the former USSR. Awards include Nikon Photographer of the Year (twice), Picture of the Year award from the National Press Photographers of America, and British Press Magazine Photographer of the Year (twice). Arts Council Award, Art Directors' Club of New York Award. His books include The English, two books on South Africa, Sold into slavery and Sea. Exhibitions in London, Paris, Hamburg, Brussels, Bradford, Perpignan, Aix en Provence Shanghai, Lowry Gallery, Walker Art Gallery Liverpool, Edinburgh, SCOP Shanghai, Hastings, Bruges. Ian Berry: Street Photography Photojournalism, documentary, reportage, call it what you will, shooting on the street is not easy. It needs a level of dedication and commitment as well as preparation, both mentally and with your shooting equipment. I'm aware of the differences of opinion over whether a photographer should ask a potential subject's permission before taking a picture. My take on the matter is that if you want a self-conscious stare into the camera, by all means ask, but if you want a potential subject in their natural environment and make a picture that reflects the situation, then shoot first and, if needs be, talk later. If observed, a smile nearly always puts your subject at ease. Often I find that if I walk out of a hotel in a strange city and go unnoticed when shooting the first picture, I'm high all day and can photograph non-stop without being seen or rebuffed, but a bad reaction from the first subject and I might as well go back to bed. A good way to hone your skills is to attend local events, street fairs and even pet shows, places where people are more amenable and accustomed to being photographed. It goes without saying that whether planning to shoot abroad or in Britain one should respect local customs and dress codes. It's no good wandering around a city in shorts and colourful T-shirts if you wish to move unobserved. This selective process also applies to equipment; whether you compromise between the Christmas tree approach and the sneaky ‘one camera in the hand behind the back' system, and between carrying enough gear to cope with whatever might arise, but not so much that you're exhausted after a few hours. I'm always amazed at colleagues who walk up to people with a 28mm lens and a flashgun banging away in their faces. It certainly creates a style but adds artificiality that I find unpleasant, both visually and in terms of aggression towards the subject. I think a style on the street should be created by a vision rather than a technique. Also the benefit of today's digital cameras to boost the ISO has enabled me at least to ditch a flashgun altogether during the day. Once in a while a new photographer joins Magnum with a totally different vision, like Russian Gueorgui Pinkhassov, who really excites me and makes me want to go out and shoot, not to recreate his style but rather to reinvent myself. I love to shoot with two fixed focal length lenses on two quiet Olympus cameras hanging around my neck, partially concealed under a vest or jacket. Only partially concealed because I don't want it to appear as if I were trying to hide the fact I am a photographer. The lenses I use are a 28mm and a 50mm, which are small, light and fast. I prefer fixed focal length lenses because I like to know exactly what is going to be in the frame, and it's far easier to take half a step forward or backward than fiddling with a zoom. In Magnum the jury is out among the street shooters over whether a DSLR or a range finder is the better choice, but nearly all use single focal length lenses. The other plus of a small camera is that you are often perceived as an amateur photographer and therefore less of a threat to the people you're photographing. Shooting with a long zoom on the street is a definite no-no, as you will be viewed as a voyeur. Curiously, I find I can be 3ft or 4ft from someone, shoot with a 28mm lens and pass by unnoticed and yet be obvious at 15ft. A recent fashion trend I don't think works is trying to carry equipment in a rucksack. It's great for the countryside or getting to or from a location but on the street every second counts and by the time you get a camera or lens out of this sort of bag, night has fallen and everyone has gone home. I find that a soft bag of the Domke variety will hold a body with longer lens inconspicuously but within quick reach. Whatever your kit set-up, however, the same creative needs apply. The ability to recognise a potential situation and produce an elegant composition in a fraction of a second on the street is what separates the great photojournalists such as Eugene Smith, Sebastião Salgado and Alex Webb from the rest of us. I've noticed that with that ability comes the physical stamina and professionalism to pound the streets for 12 hours on the trot. The basic elements are either to grab the decisive moment on the hoof, to see a potential situation and hover unseen until it develops, or spot a potentially great background and be prepared to hang around for an hour or more until the right juxtaposition of people slot into place in front of you. This is something I frequently do, especially in a foreign environment; simply wait until you become part of the fixtures and fittings so that when you raise the camera slowly and smoothly to the eye, no one's attention is drawn by an unusual movement. One of the great things about growing up photographically in Magnum was the words of wisdom dropped casually on occasion by Henri Cartier-Bresson. For example, "A great photograph is not an intellectual result, the only intellectual involvement is being there in the first place. The actual moment is purely intuitive, like squeezing the trigger of a gun when your subject is in exactly the right place in the frame." On another occasion as we were wandering around in Paris, "Walk softly and slowly. If you are moving quickly and stop suddenly, the people you are about to photograph will react to the change of pace in their peripheral vision and become aware of you." Street photography in Britain has become another issue. Years ago when travelling from Istanbul to Beijing by train, I'd passed from Iran into Turkmenistan and was shooting in the capital, Ashgabat. Most of the main buildings had 15ft-high portraits of the President in true personality cult style and after wandering around I chose what I thought was the most interesting building architecturally. I then stood for quite a while waiting for interesting people to pass by to make up the shape. After a short time a couple of guys came out of the building and watched me, then came over and ‘invited' me into the building. It transpired I was photographing the equivalent of the FSBheadquarters. One of the men spoke excellent English and after quizzing me in a not unpleasant way, asked that if he were to come to London would he be allowed to photograph Scotland Yard? In response I invited him to call me when he was next in London so we could photograph it together. Sadly I could not do that any more, we are no longer that relaxed a society. So what to do when you're in front of the Bank of England trying to shoot an essay on the City and an officious PCSO or a jobsworth from the nearest sock shop arrives to tell you to desist, or worse, delete your images? The advice of lawyer Rupert Grey, who knows a thing or two about photographers' rights, is to keep your cool, be polite and explain that you are perfectly entitled to take photographs in a public place without being hassled. The public are more sensible on the whole, although it's still best to avoid photographing children. Years ago when shooting for my book, The English, I was able to go into school playgrounds with the teachers' approval and thought nothing of it; and it was the same in shopping centres, even hospitals, but no longer. Having said that, not too long ago I was passing an African-Caribbean church and stopped outside to take a few pictures of people milling around, only to be invited in to photograph the service – a pleasurable experience in this age, which tells me that one should not give up on recording life in Britain. Ian's words of wisdom "Know your camera inside out. Walk with your finger on the release. Have your lens pre-focused (Josef Koudelka had bits of matchsticks glued to Olympus lenses at different points to focus by feel). A single focal lens is best. I shoot on aperture, only adjusting as light conditions change. Don't be intimidated, most people are happy to be photographed. If nervous walk with a friend, although they are always distracting and get in the way. Buy a waistcoat or jacket a size too big to keep your camera concealed inside. Look around you constantly. Be discreet; looking beyond the subject after shooting often helps. If confronted, good-humoured banter and a smile always work."
Thomas Dodd
Thomas Dodd
United States
Thomas Dodd is a visual artist and photographer based out of Atlanta, Georgia who has developed a style that he calls "painterly photo montage" - a method he employs during principal photography and in editing software with which he crafts elaborately textured pieces that have a very organic and decidedly non-digital look to them. His work often has mythic and quasi-religious themes that pay homage to Old Master art traditions while at the same time drawing from psychological archetypes that evoke a strong emotional response from the viewer. Although his artwork resembles paintings, his pieces are entirely photographic in nature, fusing many images into a cohesive whole. His larger works are often presented in a mixed media form that adds a depth and texture that complements the photography beautifully. Thomas has had numerous exhibitions of his works in many cities in the USA and around the world. He has had recent shows in New York City, Paris, Mexico City, New Orleans, Tokyo, San Antonio, Seattle, and in his hometown of Atlanta. Dodd's photographs have been featured in many magazines, on book and album covers and he frequently teaches workshops and webinars on photo-editing and marketing for artists. Thomas began his career as a visual artist in 2005. Before that, he was best known as the harpist and songwriter for the 1990s musical group Trio Nocturna, a Celtic Gothic ensemble that put out three critically-acclaimed albums ("Morphia", "Tears of Light" and "Songs of the Celtic Night") and performed at author Anne Rice's annual Halloween balls in New Orleans, as well as spawning an offshoot band called the Changelings. Thomas also played harp on two albums by Michael Gira (the driving force behind the influential post-punk band the Swans): "the Body Lovers" and the Angels of Light "New Mother". The images that Thomas creates are basically a visual equivalent of the music he composed in the 1990s. Mythic themes and their relation to emotions and psychological states continue to be his primary subjects and motivations. Source: thomasdodd.com Interview with Thomas Dodd All About Photo: When did you realize you wanted to be a photographer? Thomas Dodd: There was a period in my early teens where I was inspired by seeing a gallery show of Ansel Adams’ work, and for a short time thereafter I was compelled to study black and white film photography (of course, digital did not exist back then in the 1970s), but that inspiration quickly was replaced by the kick in the ass I received when I heard the Sex Pistols (in 1977) which made me run out and get a guitar so I could take out my teen angst upon the (non-listening) world! AAP: Where did you study photography? With whom? TD: My father taught me the basics of the camera back in the 1970s. I also took a darkroom course in high school. My reemergence as a photographer in 2006 (after a 25 year musical career playing the Celtic harp) was basically a self-taught one with quite a few online tutorials along the way! AAP: Do you have a mentor? TD: My father was a great influence on me- both as a photographer and a human being. AAP: How long have you been a photographer? TD: Since 2006. My brief dabbling in photography in the 70s barely counts! AAP: Do you remember your first shot? What was it? TD: My first real photoshoot was of my friend (and first Muse) Halley dressed in a beautiful Rococo-themed dress she made. We wandered through the streets of downtown Decatur Ga. at around midnight searching for street light to shoot in. AAP: What or who inspires you? TD: Beauty inspires me. Great painters inspire me. An artistic or chameleonesque model inspires me... AAP: How could you describe your style? TD: “Painterly” photo montage with an artistic approach AAP: Do you have a favorite photograph or series? TD: My favorite photo is always the one I am currently working on! AAP: What kind of gear do you use? Camera, lens, digital, film? TD: I really am not one of those photographers who likes to talk about gear because I think the most important tool that an artist possesses is their imagination... but I shoot with a Sony A57 using a 18-70mm lens. AAP: Do you spend a lot of time editing your images? For what purpose? TD: I seem to spend ALL my time editing photos - What purpose? Self expression and sometimes' client satisfaction! AAP: Favorite(s) photographer(s)? TD: Jan Saudek - for the way he created such boldly erotic personal imagery while hiding from a repressive Communist regime... He also used texture and color in a very painterly way which has influenced me a great deal. AAP: What advice would you give a young photographer? TD: Don't be in a hurry to "succeed", and shun advice like "Fake it ‘til you make it". It takes TIME and PATIENCE to develop your own style. Always follow your own voice and don't be swayed by what is currently popular, and don't forget to ENJOY it - this is not supposed to feel like work! AAP: What mistake should a young photographer avoid? TD: Becoming an imitation or a copy of another photographer. Being in a hurry to get published or displayed in galleries is another common mistake. Take the time and develop your craft for a few years before you start thinking about sharing it with the world! AAP: Any quotes you would like to share? TD: "I am steadily surprised that there are so many photographers that reject manipulating reality, as if that was wrong. Change reality! If you don't find it, invent it!" - Pete Turner AAP: What current projects are you working on? TD: Nothing I can tell you about, but I will drop a hint and say it involves shattering some commonly held preconceptions about a "marginalized" segment of society. AAP: Your best memory as a photographer? TD: There have been so many, it's hard to choose an absolute best but I will say my first solo show, my first print sale and my first publication were all high points! AAP: Your worst souvenir as a photographer? TD: My broken D50 which gasped it’s last breath 5 clicks into a nude shoot! Or maybe the memory card and external hard drive that I irretrievably lost data from. Here is some more good advice - ALWAYS use an online backup in addition to discs and hard drives! AAP:The compliment that touched you most? TD: When my 92 year old Mother came to my first big gallery show in Atlanta (featuring some very large nude images) and said she was proud of me... AAP: Your favorite photo book? TD: Bob Carlos Clarke's "The Dark Summer" and Helmut Newton's "White Women". AAP: An anecdote? TD: I long ago learned as a model photographer that the crucial things to pack in your camera bag are not extra lenses, filters and light meters, They are instead bobby pins, safety pins, hair ties, insect repellent and sun block. Oh yeah, and a few model releases too! AAP: Anything else you would like to share? TD: Please feel free to "like" my Facebook page and introduce yourself.
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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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