All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL DAYS TO ENTER AAP MAGAZINE SHADOWS: GET PUBLISHED AND WIN $1,000
FINAL DAYS TO ENTER AAP MAGAZINE SHADOWS: GET PUBLISHED AND WIN $1,000
Niki Feijen
Niki Feijen
Niki Feijen

Niki Feijen

Country: Netherlands
Birth: 1977

Dutch photographer Niki Feijen immortilizes an astonishingly intact glimpse into the past. This autodidact specializes in documenting and capturing historic architecture and abandoned buildings. Each photo fuses together the conflicting notions of beauty and decay and corresponds with his desire to capture and silently communicate with his audience about the subject's very essence.

Niki wants to recreate the exact same scene as he sees while standing in a location but the lightspectrum your eye can capture is much, much wider than a camera can capture. Photographing a dark setting with extreme highlights like a window causes the highlights to wash out into white or dark areas can become obscure black blobs. It's impossible to shoot a photo that captures both ends of this spectrum. Since Niki does not use any artificial lighting he uses different exposures to capture a much wider light spectrum than a traditional photograph. The result is a hyper realistic photo which would replicate the exact same thing you would see standing inside the location yourself.

In 2010 Feijen visited the quintessential location of desertion: the Chernobyl Exclusion Zone. After a catastrophic nuclear accident occurred in 1986 the entire city of Pripyat, all 50,000 inhabitants, were evacuated within 48 hours. Most of the belongings of the evacuated inhabitants were left behind and never returned to again. The incredible deafening silence of this location, in its absence of the living, permeates the senses and mind of visitors who venture to there to this day.

Feijen is currently travelling around the globe looking for more hidden gems tucked away behind 'Do Not Enter' signs. Curious about what lies on the other side, he goes in search of the hidden world that is often in plain sight. When Feijen comes across impressive yet eerie locations, such as homes located in ghost towns, asylums, decaying hospitals, abandoned castles and long forgotten hotels, he intends to preserve the what is left of the past by encapsulating these forgotten masterpieces' ethos in a photo before they crumble and collapse.

The impressions left from these places are represented in visual form for the public in three separate books. All works, 'Disciple of Decay' (April 2013) 'Frozen' (September 2014) and 'Tempus Fugit' (December 2017), have been independently published. The first sold out in six months. On top of these publications, Feijen's photographs are exhibited at art galleries and international art fairs several times a year.

His works have been featured by NBC, BBC, The Huffington Post, ABC News, The Daily Mail and Chase Jarvis, among a variety of others. As of 2014 Feijen's work is part of the Sir Elton John Photography Collection where his name is among legendary photographers as ; Edward Weston, David LaChapelle, Diane Arbus and Henri Cartier-Bresson.
 

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #56 Shadows
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Zhou HanShun
Singapore
1975
Born 1975, and raised in Singapore, Zhou HanShun is a Photographic Artist, Printmaker and Art Director.After graduating from Nanyang Academy of Fine Arts Singapore and RMIT University, he went on to make a living as an art director, and continues to pursue his passion as a visual storyteller and photographer.He uses photography as a way to explore, investigate and document the culture and people in the cities he lived in.HanShun has exhibited at the Tumbas Cultural Center in Thessaloniki, Greece for Photoeidolo (2017), the Molekyl Gallery in Sweden, for the Malmo Fotobiennal (2017), the Gallery under Theater in Bratislava, Slovakia for The Month of Photography Bratislava(2017), the Czech China Contemporary Museum in Beijing for the SongZhuang International Photo Biennale(2017), the PhotoMetria "Parallel Voices" exhibition in Greece (2016), the Addis FotoFest in Ethiopia (2016), among others.HanShun was awarded a Special Mention at the Balkan Photo Festival (2016), Shortlisted for the Hariban Award (2017) and was a finalist of Photolucida Critical Mass (2016), among others.About Frenetic City To say life moves fast in a city is an understatement. People go through life in an uncompromising, chaotic pace, overcoming and absorbing anything in their path. Time in the city seem to flow quicker, memories in the city tend to fade away faster. Nothing seems to stand still in a city. I use photography as a way to explore, investigate and document the culture, society and people in the cities that I have lived in. Using Hong Kong as a starting point, this project aims to be a documentation of our increasingly overpopulated world. When I first landed, I was immediately confronted by a society that is in fierce competition for physical and mental space. I decided to capture and re-create the tension and chaos that I experienced in photographic form, using multiple exposures on B&W negatives. The creation of each photograph requires me to be fixed at a specific location from between 5 to 7 hours per session. Through the viewfinder of an old Hasselblad, I created each photograph by overlapping selected individuals or groups of people within the 6 x 6 frame. The resulting photograph is not of a singular moment in time, but a multitude of moments in time captured in a single frame.
Miles Aldridge
United KIngdom
1964
Miles Aldridge rose to prominence in the mid-nineties with his arresting, highly stylised photographs with references to film noir, art history and pop culture. An acclaimed colourist, he renders elaborate mise-en-scènes in a palette of vibrant acidic hues. These glamorous, frequently eroticised images probe society's idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface. Aldridge has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. His creative output encompasses large-scale c-type prints, Polaroids, screenprints, photogravures and drawings. Born in London in 1964, the son of famed art director and illustrator Alan Aldridge, his interest in photography began at an early age when he was given a Nikon F camera by his father. He went on to study graphic design at Central Saint Martins, graduating with a BA in 1987. Aldridge initially worked as an illustrator and music video director, before turning his attention to photography. In 1996 he began working with Franca Sozzani, the legendary editor-in-chief of Vogue Italia, and their boundary-pushing collaboration would continue for twenty years. In addition to the many international editions of Vogue, Aldridge's images have featured regularly in prestigious titles including Harper's Bazaar, Numéro, W, The New York Times Magazine and The New Yorker. Aldridge develops each new photographic narrative by rendering his initial thoughts in ink or pencil sketches with washes of watercolour and pastel. These drawings and storyboards are an essential early stage in his creative process. He believes that 'fiction and theatricality can be more truthful than documenting reality' and translates his sketches into meticulously arranged compositions to create images reminiscent of film stills: frames snatched from a broader story. Aldridge notes that many of his favourite moments in cinema are, as he describes, "closeups of a woman's face thinking", and he shares Hitchcock's ability to create powerful moments of suspense, turning viewers into voyeurs. In Aldridge's Chromo Thriller (2012) there is a palpable resonance with David Lynch's neo-noir mystery Blue Velvet, where immaculate façades hide darkly strange stories. As one author has noted: "Aldridge's female protagonists recall the glamour and splendour of Isabella Rossellini's character whilst at the same time remaining suggestive of something more sinister." Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial. In the series Capital Gains (2007) and Open Tour (2008) the cities of Washington DC and Paris look cleaner and sleeker than ever before. In The Last Range of Colours (2007), a lone figure in a children's playground evokes both the Technicolor splendour of The Wizard of Oz and the haunting dreamscape of a Giorgio de Chirico painting. A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy-coloured telephones and well-groomed pets denote success. The work conflates historic and modern motifs and makes subtle reference to the art historical canon. The project Immaculée (2007) points to Catholic depictions of female saints in ecstasy, whilst his portraits of Lily Cole (2005) and Maisie Williams (2017) draw inspiration from Northern Renaissance masters such as Albrecht Dürer and Hans Holbein. Pop Art tropes feature predominantly: Coca-Cola logos (3D, 2010; A Family Portrait #14, 2011), soup cans and tomato ketchup bottles (A Drop of Red #2, 2001; First Impressions, 2006) all form a striking part of his visual lexicon. His fascination with art history led Aldridge to undertake projects with several significant contemporary artists including Maurizio Cattelan, Gilbert & George and Harland Miller. For the project (after Cattelan) (2016), he was invited by Cattelan to respond to the Italian artist's exhibition, Not Afraid of Love, in the grand neoclassical rooms of the Monnaie de Paris. The resulting series of c-type photographs depicts statuesque nudes dominating Cattelan's hyperreal sculptures in a series of absurdist tableaux. A second series, titled Love Always and Love All Ways after Gilbert & George (2016), was made with the British duo at their London townhouse. Drawing on the conventions of Victorian melodrama, Aldridge devised a series centred around the story of an enigmatic young visitor staying at the house for the weekend. In a further nod to Victoriana, the images were printed using the nineteenth-century photogravure process, whereby an etched copper plate produces highly detailed intaglio prints. The monotone prints were augmented with blocks of bold colour and hand-painted details to create a contemporary aesthetic. His most recent collaboration was with Harland Miller, known for his paintings of imaginary book covers that were partly inspired by Alan Aldridge's 1960s designs for Penguin paperbacks. In a satisfying symmetry, Aldridge transformed Miller's paintings into real books, used as props in his photoshoot. The resulting screenprints evoke the grainy colour supplements of Aldridge's youth and were published by Poligrafa, Barcelona's renowned fine art publisher, who launched them at the 2017 edition of Art Basel Miami Beach. Poligrafa went on to publish the subsequent screenprint series New Utopias, which they exhibited at the 2018 edition of Art Basel. Most recently, Tan Lines, one of Aldridge's largest screenprints to date, was unveiled by Poligrafa at the 2019 edition of The Armory Show, New York. Aldridge's major museum exhibitions include his upcoming retrospective Virgin Mary. Supermarkets. Popcorn. Photographs 1999 - 2020 at Fotografiska, New York, which opened 7th May 2021 having first appeared at Fotografiska Museum, Stockholm (2020-2021), solo shows at The Lumiere Brothers Photography Centre, Moscow (2019) and OCA, São Paulo (2015) and I Only Want You to Love Me at Somerset House, London (2013). In 2014, he was commissioned by Tate Britain to create a photographic installation in response to Mark Gertler's 1916 painting Merry-Go-Round. London's National Portrait Gallery houses a large collection of Aldridge's portraits and his work is held in prestigious museums and institutions around the world including the Victoria and Albert Museum and British Museum in London, the Fondation Carmignac and the Palais Galliera in Paris, the Davis Museum at Wellesley College, Massachusetts and the International Center of Photography in New York. -- Susanna Brown Curator of Photography Victoria and Albert MuseumSource: milesaldridge.com
David LaChapelle
United States
1963
David LaChapelle (born March 11, 1963) is an American commercial photographer, fine-art photographer, music video director, and film director. He is best known for his photography, which often references art history and sometimes conveys social messages. His photographic style has been described as "hyper-real and slyly subversive" and as "kitsch pop surrealism". Once called the Fellini of photography, LaChapelle has worked for international publications and has had his work exhibited in commercial galleries and institutions around the world. David LaChapelle was born in Hartford, Connecticut to Philip and Helga LaChapelle; he has a sister Sonja and a brother Philip. His mother was a refugee from Lithuania who arrived at Ellis Island in the late 1960s. His family lived in Hartford until he was 9. He has said to have loved the public schools in Connecticut and thrived in their art program as a child and teenager, although he struggled with bullying growing up. Then he moved to Raleigh, North Carolina, with his family, where they lived until he was 14, before moving back to Fairfield, Connecticut. He was bullied in his North Carolina school for his sexuality. When he was 15, he ran away from home to become a busboy at Studio 54 in New York City. Eventually, he returned to North Carolina to enroll in the North Carolina School of the Arts. His first photograph was of his mother Helga on a family vacation in Puerto Rico. LaChapelle credits his mother for influencing his art direction in the way she set up scenes for family photos in his youth. LaChapelle was affiliated in the 1980s with 303 Gallery which also exhibited artists such as Doug Ait. After people from Interview magazine saw his work exhibited, LaChapelle was offered work with the magazine. When LaChapelle was 17 years old, he met Andy Warhol, who hired him as a photographer for Interview Magazine. Warhol reportedly told LaChapelle "Do whatever you want. Just make sure everybody looks good." LaChapelle's images subsequently appeared on the covers and pages of magazines such as Details, GQ, i-D, The New York Times Magazine, Rolling Stone, The Face, Vanity Fair, Vogue Italia, and Vogue Paris. LaChapelle's work has been called "meticulously created in a high-gloss, color-popping, hyper-realistic style", and his photos are known to, "crackle with subversive – or at least hilarious – ideas, rude energy and laughter. They are full of juicy life." In 1995 David LaChapelle shot the famous 'kissing sailors' advertisement for Diesel. It was staged at the peace celebration of World War II and became one of the first public advertisements showing a gay or lesbian couple kissing. Much of its controversy was due it being published at the height of the Don't ask, Don't tell debates in United States, which had led to the U.S. Government to bar openly gay, lesbian, or bisexual persons from military service. In a long article published by Frieze in 1996, the advertisement was credited for its "overarching tone of heavy-handed humor and sarcasm". In September 2011 when the Don't ask, Don't tell law was finally removed by President Barack Obama, Renzo Rosso, the founder and president of Diesel, who originally had approved and pushed for the advertisement, said "16 years ago people wouldn't stop complaining about this ad. Now it's finally accepted legally." Themes in LaChapelle's art photography, which he has developed in his Maui home, include salvation, redemption, paradise, and consumerism. It is clear that LaChapelle's moving in this, "new direction highlights his interest and understanding of both contemporary practice and art history". LaChapelle's images "both bizarre and gorgeous have forged a singular style that is unique, original, and perfectly unmistakeable." His photographs have been collected in a number of books. LaChapelle Land (1996) was selected as one of 101 "Seminal Photographic Books of the Twentieth Century" and is "highly valued by collectors". His second book, Hotel LaChapelle (1999), was described as a "garish, sexy, enchanting trip". Heaven to Hell (2006) featured "almost twice as many images as its predecessors", and "is an explosive compilation of new work by the visionary photographer." LaChapelle, Artists and Prostitutes (2006), a limited-edition, signed, numbered book contains 688 pages of photographs taken between 1985 and 2005. Artists and Prostitutes was published by Taschen and includes a photograph of the publisher Benedikt Taschen in a sadomasochism scene.Source: Wikipedia David LaChapelle is a celebrated American photographer and video artist. He is perhaps best known for his commercial fashion portraits of celebrities and models, including photos of Amanda Lepore and Angelina Jolie. LaChapelle’s signature blend of colorful, conceptual imagery bears the influence of both Surrealism and Pop Art. Often humorous or provocative, his use of full or partial nudity in numerous advertisements and editorial shoots prompted Helmut Newton to remark, “A lot of the nudity is just gratuitous. But someone who makes me laugh is David LaChapelle. I think he's very bright, very funny, and good.” An avid consumer of pop culture, LaChapelle is also inspired by the breadth of art history, frequently evoking the compositions or poses of Renaissance paintings. Born on March 11, 1963 in Fairfield, CT, LaChapelle’s early work was noticed by Andy Warhol, who then offered him a job at Interview Magazine in the 1980s. His photographs are included in the collections of the Los Angeles County Museum of Art, the National Portrait Gallery in London, and the Tel Aviv Museum of Art, among others. He currently lives and works in New York, NY.Source: Artnet
Sirkka-Liisa Konttinen
Sirkka-Liisa Konttinen is a Finnish photographer who has worked in Britain since the 1960s. She was born in Myllykoski, municipality of Sippola (from 1975 part of the town of Anjalankoski, from 2009 part of the town of Kouvola), Finland in 1948. Konttinen became interested in photography at the age of 12 and was a member of a photography group in a nearby town. Intending to pursue photography as a career, she was apprenticed to a fashion photographer in Helsinki for a year. Konttinen studied photography in London in the 1960s, and cofounded the Amber Collective, which moved to the northeast of England in 1969. From 1969 Konttinen lived in Byker, and for seven years photographed and interviewed the residents of this area of terraced houses until her own house was demolished. She continued to work there for some time afterward. This resulted in the book Byker, which in David Alan Mellor's words "bore witness to her intimate embeddedness in the locality". In 1980 she became the first photographer since the Cultural Revolution to have her work exhibited by the British Council in China. Konttinen's next project was a study of girls attending dance schools in North Shields, their mothers, and the schools. The book Step by Step came from this. The book was an influence for the film Billy Elliot. Three years of photographing the beach between Seaham and Hartlepool resulted in the series Coal Coast. Konttinen later returned to Byker and photographed its new residents in colour.Source: Wikipedia Sirkka-Liisa Konttinen is a photographer and filmmaker, best known for her work documenting working-class life in North East England. She is also co-founder of the Amber Film and Photography Collective, based in Newcastle Upon Tyne and the Side Gallery, dedicated to socially engaged documentary photography. Her documentation of Byker, the close-knit community of Newcastle, led to national recognition as a key photographic and filmic account of the rich working-class culture on the eve of its destruction. In 2003-09 she returned to the Byker Wall Estate that came to replace the original community, with her Byker Revisited/Today I’m With You book and film. Konttinen’s other long-term projects include Step by Step/Keeping Time, Hoppings, Writing in the Sand, Letters to Katja and the Coal Coast/Song For Billy. In 2011 her photography was inscribed in the UNESCO UK Memory of the World Register. She has exhibited widely, with her works held in multiple collections including the Finnish Museum of Photography, Helsinki, Museum of Fine Arts, Houston, The New York Public Library, Tate Modern, London, Victoria and Albert Museum, London and the AmberSide Collection Trust, Newcastle.Source: Artimage
Mostafa Nodeh
Mostafa Nodeh (b. 1980) is an Iranian artist and self-taught photographer based in Guilan, on the northern coast of Iran. He is known for his captivating minimalist landscape photographs in black and white, which, inspired by conceptual photography, are strongly rooted in themes, ideas and symbolism. About the Freedom Collection Global Appeal and Interpretative Depth The Freedom collection showcases how the simplest of elements can carry profound meanings. While some may see in his images themes of hope and resilience, others might interpret them as reflections on personal growth or the changing seasons of life. A Celebration of Universal Themes Mostafa Nodeh’s Freedom is a testament to his belief that freedom is a deeply personal and universal experience. The collection invites viewers to reflect on their journeys, embodying resilience and aspiration through serene imagery. Nodeh’s work serves as an invitation to pause, appreciate the quiet elegance of the world, and find strength in simplicity. Nodeh’s photography reminds us that within each image lies an opportunity to find peace and inspiration, celebrating the beauty of life’s most fundamental experiences. Statement Very poetic and existential in nature, Nodeh's works invite us to reflect on the deeper questions in life. What is the meaning of it? How are we spending it? Or to engage with more politically charged questions such as which lives matter? Or who is disposable? All the while they also hold another important message, which perhaps is the root of Nodeh’s minimalism: ''To me minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world'' Awarded Photographer of the Week - Week 49
Laura Jean Zito
I began photographing in order to understand what elements of a scene would render that scene worth painting, given the time and materials commitment painting demands. The voyage led to a desire to document that which will no longer be, like trying to remember a dream. I wanted to document the world as I actually viewed it, in all its irony, and to marvel at the actuality of it rather than to distort that reality. The veracity of film itself was a tool to me to reveal with integrity the extent of what is possible in the universe. With digital manipulation, who knows what is real anymore? With film, I was proud of honing skills of recognizing an event before it happened, being quick and ready to snap it, and being astute enough to compose it in a way to tell the whole story in a single image. I had practiced these skills as a stills photographer on feature films, including my brother's classic hip hop film, "Breakin'," where the photographer is the only one on set not actually working on the movie but has to wrangle their way right next to the director at peak moments without disturbing anyone on crew, to convey the plot all in one image. Other people skills came from years of shooting for NBC News Graphics, where I had to approach strangers on the street on a daily basis to shoot stock photos for their files. I compose with a Caravaggio sense of action and emotion in mind, and look for color schemes or black and white contrasts that symbolically represent the emotions manifested. Street photography has changed so much with the digital age and a camera in everyone's phone. While the documentation of fact may be lost, the fields of imagination may be found, opening new ground for discovery. Moment Moment is a project of photographs taken over the last 40 years, in towns surrounding the birthplace of my grandparents, Ballintober and Strokestown, in County Roscommon, Ireland, as well as in cities and countryside. Moments represented are so casual and usual, that while they might go as unremarkable in their own time frame, when viewed through the lens of another era, their very everydayness shows how times have morphed into a more generic way of doing things. The photographs bestow an ambience that would likely not be missed until it was no longer available: pubs and public places full of character and characters, from farmers in faraway hills of Connemara to foreign ministers in Dublin Castle, their body language and gestures bringing past into present focus. These, and landscapes taken before developments displaced haystacks, mesh an aesthetic appeal with an historical one to highlight how, though visuals might have changed, issues never have and might never. The photographs are about a moment in time, a thought that comes to mind, that blows through the consciousness like a dandelion wisp in a summer breeze. And in that simplicity and ephemeral delicacy lies the potency and deepness and timelessness. The frame and filter we view through brings new insight and reflection, giving nuance to what we view as truth and reality. - "Moment" © 2021 Laura Jean Zito All Rights Reserved AAP Magazine AAP Magazine 22 Street AAP Magazine 53 Travels
Advertisement
AAP Magazine #56 Shadows
Win a Solo Exhibition in May
AAP Magazine #56 Shadows

Latest Interviews

Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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.
Call for Entries
Solo Exhibition May 2026
Get International Exposure and Connect with Industry Insiders