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Pierre Baëlen
Pierre Baëlen
Pierre Baëlen

Pierre Baëlen

Country: France
Birth: 1981

Pierre Baëlen was born in 1981 in South of France. His interest in photography began when his best friend promised him to have good fun in jumping in devastated buldings during photography courses when he was 14 years old. Surprising by the discover of the The 6x6 camera, his first love quickly became the darkroom where he began experimenting with printing and developing in the family's bathroom.He attended Orthez's photography School for Performing & Visual Arts and, from there, went on to attend photography report and experimental in illustration work. He moved to Paris in 2001. In October 2001, he began shooting small assignments as freelance photographer. Next winter he met a car advertising photographer, with wich one he spent about 8 years working and traveling all arround the world as first freelance assistant. During the evolution from large format and digital shooting experimentation in assignement works as first assistant gave him the priceless experience in comptempory photography. Summer 2011, he became a full time photographer. The main theme of his work revolves arround imaginary landscapes, a journey between onirism and comtempory reality.

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More Great Photographers To Discover

Thibault Belouis
Thibault Belouis
France
1992
After earning his degree in Graphic Design from the school of art direction and interior architecture Penninghen in Paris in 2015, Thibault Belouis worked as a iconographer for production companies specializing in photography and commissioned films. In 2018, he joined the production company Passion Pictures (Paris) as an art director. This international company, renowned for its documentaries and animated fi lms, has been recognized multiple times with Academy Awards. His professional and artistic focus is now on photographic, video, and sound works, exploring the existence of the world around him. He practices photography spontaneously, ranging from landscapes to street photography, aiming above all to capture a certain delicacy through a contemplative and slightly offbeat perspective. The relationship between reality and the image has always fascinated him. In June 2023, he decided to dedicate himself fully to his artistic sensibility, exploring photography, video, and sound. He then created the photographic series Magnetic Walk, a visual noir tinged with surrealism. That same year, his artistic commitment led him to travel across the Americas for one year, during which he produced Dias Tras Días, a series fi nalist for the Prix Bergger for Black and White Analog Photography 2025. His work was exhibited in November at an exhibition organized by Mathilde Virty in Paris. In 2026, he will participate in the KIOSKO residency program in Santa Cruz, Bolivia, to develop a project exploring the connection between memory and wild nature. Awarded Photographer of the Week - Week 04, 2026
Lorenzo Meloni
Lorenzo Meloni
Italy
1983
Lorenzo Meloni (born 1983) is an Italian Photographer. He joined Magnum Photos as a nominee member in 2015. Meloni is known for his searing, artfully drawn photography covering conflicts in the Middle East. Though he is often working on the frontline—he has covered some of the most pivotal battles in the war against the Islamic State—he is also concerned with deeper themes, such as history and post-colonialism. In 2011, he finished his photography studies and immediately joined Contrasto, a major Italian photographic agency. He lived in Beirut from 2012 to 2014 and dedicated himself to long-term projects regarding the aftermath of the fall of Gaddafi in Libya, the conflict in Syria (specifically the area of Rojava) and its impact in Lebanon, between 2014 to 2016. His work currently focuses on the consequences of the Sykes-Picot agreement and the military and political intervention of the West in the Middle East. Meloni’s work has been exhibited in festivals worldwide including the Venice Biennale, Visa pour L’Image, Les Rencontres d’Arles, Boutographies and Fotoleggendo and has been featured in global publications including The Telegraph, TIME, Le Figaro, Vanity Fair, Internazionale, L’Espresso, La Repubblica.Source: Magnum Photos When proclaimed in June 2014 in Mosul, the Caliphate was then at the height of its power. The Jhiadists controlled a territory that was as big as the United Kingdom and were in charge of a significant arsenal captured from the Iraqis army, composed of volunteers coming from all over the world. Lorenzo Meloni has documented this conflict, getting the exclusive opportunity to cover the battles of Kobane, Palmyra, Sirte, Mosul and Ragga. Five major battles for the same war, a huge number of actors: locals, regional, international ones; a sole enemy: the Islamic State. Each of these five cities embodies a distinct symbolic aspect of this global war against the Islamic State. Kobane, a Kurdish-Syrian stronghold, pro-PKK, was the first great defeat for the Jihadists and the beginning of the intervention of the coalition led by the United States in Syria. The battle of Palmyra is representative of the destruction of archeological sites committed by the Islamic State. Meloni is one of the few photographers to travel there in April 2016 to record the liberation of the city by the Syrian regime and its alleys. Sirte, in Lybia, went from being Gadaffi’s birthplace to the African capital of the Islamic State. Mosul, the jewel in the crown of the Jihadists. The biggest urban battle after World War II and the capital of the Islamic State in Iraq. And ultimately Ragga, an important administrative headquarter and capital of the Islamic State in Syria, liberated by the Kurdish and Arab forces in Syria. Lorenzo Meloni, covering these five battles, offers a unique perspective of five echoes of the same war. He shows the fighting and the ruins, the fury and the silence. The silence of these places where war has estranged life.Source: IMP Festival
Roger Grasas
Roger Grasas
Spain
1970
Roger Grasas (Barcelona, 1970) begins his professional career as a photographer in 1998 documenting cooperation projects for national and international foundations and NGOs as well as for UNESCO. Since then, traveling becomes the core of his artistic work, translating his experiences and reflections into visual arts. Between 2005 and 2009 he is the director of the BisouFoto communication studio and co-founder of the phototroupe Studio agency. In both projects he is in charge of the commissions related to travel photography, editorial portrait and social report. Regular contributor to several Spanish and international publications. In 2009 he moves to Riyadh (Saudi Arabia) where he leads the foundation of the photography department at Imagine Communication, a high end quality agency for social photography and events. During his stay in Saudi Arabia and later on until 2016 he develops the project 'Inshallah', a personal project about the extreme transformation of Middle eastern societies through the urban contemporary landscape in countries such as Saudi Arabia, Bahrain, Qatar, Emirates, Oman etc. His body of work approaches the role and importance that technology reveals within the post-modern digital society, the state of strangeness and confusion that human being suffers in the contemporary landscape and the increasingly connections between art and science. Sociopolitical issues such as globalization and philosophical concepts such as the 'difference', 'hyperreality' and 'alienation' generated by the postcapitalist society and the accelerated implementation of new technologies are also common places of their work. Since 1997 he has combined his professional activity with teaching in photography. Between 1997 and 2004 he teaches Photography and Landscape Production courses at the UPC's Image and Multimedia Technology Center. He also works as an academic at the Groc School of Plastic Arts (Barcelona), at the Communication Faculty of the National Autonomous University of Mexico and at the Mamori Art Lab Foundation in Brazil. He has also given various workshops and seminars related to travel anthropology and contemporary society such as "The Art of Travel: Photography and Travel" and "Why Travel? Ethics and Aesthetics of Leisure and Tourism". His His works have been exhibited on galleries of Spain, France, Netherlands, Germany, U.S.A., El Salvador, Saudi Arabia and Mexico. About 'Min Turab' In the space of a few decades, the landscapes of the Arab Gulf region have undergone a wholesale mutation driven by increased income from the oil, globalization and mass tourism. These countries have seen so a huge transformation, moving from the nomadic lifestyle of the bedouin tribes to a hi-tech urban society. The work takes the title from an arabic expression meaning “from the land”, and is an observation of this process oscillation between these two poles: an austere, traditional civilization on one extreme, and a postmodern culture under the powerful influence of capitalism and consumerism on the other. Founded on the idea of travel as an artistic method, these photographs hold up a mirror to the dyad of nature and technology in a place where the old and the new come together and the lines between them blur. This tension is evident both in the vast desert landscapes and in the images of cities, where the past and the future are compressed into the close quarters of the present. These representations of the landscapes of Saudi Arabia, Oman, Bahrain, Kuwait, United Arab Emirates and Qatar throw into sharp relief the binary opposition of the natural and the constructed. This sense of dislocation feeds into this idea of travel as an artistic dérive, drifting with no particular destination in mind, in search of new situations and experiences. In these dreamlike images, the author reflects on the concepts of the real and the unreal, with viewers left uncertain as to what is really going on. Almost completely lacking in human presence, these photographs show the mark left upon the landscape by consumer society at the same time as they seek out the beauty in strangeness. With a dry wit, the artist focuses his gaze on the idea of the simulacrum. The visual and conceptual glimpses of this world documents the colonization of contemporary landscapes by technology and the alienation of human beings in the digital societies of the Arabian Gulf countries. These images of silent architecture do not offer viewers any conclusions, but rather invite them to reflect and leave the way clear for a multiplicity of interpretations that connect with viewers' own imaginary.
Silvia Grav
Silvia Grav
Spain
1993
Born in Pais Vasco (Spain) in December, 1993. Learned to draw before she could talk and one day realizes that this is the thing she wants to do for the rest of her life. Consequently, she starts to study fine arts, but is frustrated soon and leaves during her second year to devote herself to real learning and begins to work as an artist. Since then, her art has appeared in several blogs and major journals. On top she is doing the artwork for various musicians and always is involved in some new projects. What impact has the Coronavirus Pandemic on Silvia Grav?
Judith Joy Ross
Judith Joy Ross
United States
1946
Judith Joy Ross (born 1946) is an American portrait photographer born in Hazleton, Pennsylvania in 1946. She graduated from the Moore College of Art in 1968 and earned a master's degree in photography in 1970 from the Institute of Design at the Illinois Institute of Technology in Chicago, where she studied with Aaron Siskind. Since the early 1980s, Ross has photographed a cross-section of the American population, especially people in eastern Pennsylvania where she was born and raised. Ross uses an 8×10 inch view camera mounted on a tripod and her portraits are made on printing out paper by contact, a process by which a print is made by placing a negative directly onto photographic paper, and then exposing it to sunlight for a few minutes to a few hours. Her photographic antecedents include the German August Sander and the American Diane Arbus. Her series include pictures of children at Eurana Park in Weatherly, Pennsylvania (1982), visitors to the Vietnam Veterans Memorial in Washington D.C. (1983–1984), members of the United States Congress and their aides in their Washington offices (1986–1987), laborers, people at shopping malls, and children at play near her home in Bethlehem, Pennsylvania. She has also photographed immigrants in New York City and Paris, and was commissioned by the San Francisco Museum of Modern Art to photograph tech workers in Silicon Valley, California. One of her major projects, pictures made from 1992 to 1994 in Hazleton public schools she had attended in the 1950s and 1960s, was published by the Yale University Art Gallery in 2006 as Portraits of the Hazleton Public Schools. Ross has been awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation (1985), a city of Easton, Pennsylvania Council on the Arts Grant (1988), the Charles Pratt Memorial Award of $25,000 (1992), and the Andrea Frank Foundation Award (1998). Monographs and exhibition catalogs of her work have been published internationally. Her books include Contemporaries (1995), Portraits (1996), Portraits of the Hazleton Public Schools (2006) and Protest the War (2007), "exploring such themes as the innocence of youth, the faces of political power, and the emotional toll of war". John Szarkowski at the Museum of Modern Art in New York selected Ross' work for the first exhibition in the New Photography series. In 2011, Die Photographische Sammlung in Cologne organized a retrospective exhibition of Ross's work which traveled to the Kunstmuseum Kloster in Madeburg and the Foundation A Stichting, Brussels.Source: Wikipedia Since the early 1980s, the American photographer Judith Joy Ross has dedicated her work to the medium of portraiture. She is best known for her sensitive, deeply personal, yet authentic portraits of various groups of people at the center of American society: school children and teachers, soldiers, visitors to the Vietnam Veterans Memorial in Washington D.C. and U.S. Congress members of the Republican and Democratic parties. The photographs, which Ross contextualizes by arranging them in series, offer both an aesthetic and a humanitarian approach to photography. Judith Joy Ross’s work shows references to photographers like August Sander, Eugène Atget, Walker Evans or Diane Arbus in her documentary style and her use of technical equipment. She photographs with an 8x10 inch view camera, which due to long exposure times and the need to set up a tripod forces her to concentrate on her subjects and does not allow for snapshots. The subjects are usually strangers to the photographer and so the photograph itself becomes an intense encounter. August Sander is often mentioned as a major influence. Both, Ross and Sander focus on facial expressions, gestures and posture of their subjects. However, while Sander’s famous photographs from the series People of the 20th Century is staged and aims at categorizing certain social groups, Ross does not give directions to her subjects and thus achieves an immediacy that characterizes her approach and style. It makes the viewer think about the inner reality of the person by using their own social experience in order to relate to the people she portraits, thus stressing the individuality of each subject over their association with a specific group. Judith Joy Ross describes her intention as follows: “The world outside oneself is bigger than ones idea of it. One tries to align oneself with that bigger world in making a picture”.Source: Galerie Thomas Zander At present, Ross is suffering from an eye problem following pre-pandemic surgery that has left her with double vision. “I can photograph,” she say, “but it’s hard to take a walk.” One senses that photography gave her a way to be in the world. “I’m just interested in people, but I don’t want to get too close to them,” she says. “I keep them at arm’s length with the camera. It’s like a magic charm. It’s such an intense pleasure to photograph strangers because, in that moment, you can see them in such an intimate way. It’s kind of crazy, but I love some of those people even though I have never seen them again.”Source: The Guardian
Tomáš Neuwirth
Tomáš Neuwirth
Czech Republic
1972
Tomáš Neuwirth was born in Czech Republic in 1972. He is a freelance photographer specializing in drone photography. A major milestone in his life was the year 1995, when he began to devote himself to paragliding. As a pilot, he was fascinated by taking pictures of the bird's eye, then still on the 35mm film camera. The following year, he moved to the USA. His stay here after three and half years ended the paragliding incident and with serious injuries of the spine he returned to the Czech Republic. He then spent eight months in a sanatorium, learned not only to walk again, but also met his future wife Gabriela. Capturing of aerial footage continued to attract him. And with the advent of unmanned systems, new possibilities were opened. His first drone he folded in 2011, it was a kit. However, the desired shots were made by commercially produced drones in the following years. Today, Tomáš is involved in drone and classical photography professionally. By selecting extraordinary places and post-production processing, he is trying to shift drone photography to the next level. From capturing landscapes to a Fine Art expression. He received many awards from international competitions. In 2019 he succeeded to win with in the prestigious contest MIFA - Moscow International Fotography Awards (Nature Photographer of the Year). In the same year, The Independent Photographer Magazine included his image among the TOP 10 Most incredible landscapes from across the planet. And ranked him in the selection Talents of the Year 2018/2019. He was also nominated for a Personality of Czech Photography. Statement I generally regard art as a form of self-expression. An opportunity to share own opinion, own perception of the world, with others. Photography has become my means of expression. Its strength is in capturing a given moment - a unique, unrepeatable moment. Everything is different in a second. I focus mainly on drone photography which, by its very nature, is predestined for landscape, long-distance views, great depth of field etc. From the perspective of the photographer, there are fewer possibilities for artistic expression. Therefore it depends very much on the choice of location and how to capture it. I, therefore, try to find unusual locations - often places that do not seem that interesting on the first impression. However, a bird's eye view gives them a whole new dimension.
Dan Fenstermacher
Dan Fenstermacher
United States
1985
Dan Fenstermacher merges documentary storytelling, and street photography with both humor and activism. Fenstermacher was recently selected as the winner of the 2020 Miami Street Photography Festival International Series Contest and the 15th Annual Smithsonian Photo Contest for the American Experience category. Fenstermacher has photographic experience on four continents including a multi-media internship in Accra, Ghana, as a portrait photographer in Sydney, Australia, a Professor of Fine Arts at Xiangfan University in China, and as an artist-in-residence in San Ramon Costa Rica. His work about mental illness and stigma has been featured in The Huffington Post. He holds a Master of Fine Arts Degree in Photography from San Jose State University, is a member of the Bay Area Photographers Collective, Maverick Photographers, and teaches photography at West Valley Community College. About Food Chain Series Every day the fisherman from the seaside towns of Prampram, Cape Coast, and Ada, Ghana, head out to sea where they fish up to 40 kilometers offshore. For generations families of these communities have fished the Atlantic Ocean. What they catch will determine the livelihood of the community and their families. Rising early to push the canoes in the water and fight with the breaking waves, and after a pause for prayer; the 10-hour workday ensues. Back on land the selling, cleaning, and cooking of the fish is a lively affair. Working hand to mouth, the fish are sold and taken in baskets by families and prepared for frying in oil for the night’s dinner. Some days there are barely any fish from the day’s work. To make matters worse, due to overfishing by many big fleets from China there is a depleted supply of fish. Millions of dollars per year are reported to be taken from the Ghana economy by overfishing from foreign countries. Because of this the government of Ghana has implemented an annual one-month fishing ban on local fisherman. Many do not know how they will make a living for the length of this ban, and fish illegally risking fines in-order-to feed themselves. With supplies of fish dwindling and the broken food chain as a result, these communities have little to fall back on, and the future of the Ghanaian fishing occupation is in danger of being inundated.
Manuel Álvarez Bravo
Manuel Álvarez Bravo
Mexico
1902 | † 2002
Manuel Álvarez Bravo was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s and 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or Surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. He had numerous exhibitions of his work, worked in the Mexican cinema and established Fondo Editorial de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970. His work was recognized by the UNESCO Memory of the World registry in 2017.Source: Wikipedia Manuel Álvarez Bravo, one of the founders of modern photography, is considered the main representative of Latin American photography in the 20th century. His work extends from the late 1920s to the 1990s. Alvarez Bravo was born in downtown Mexico City on February 4, 1902. He left school at the age of twelve in order to begin making a contribution to his family's finances after his father's death. He worked at a textile factory for a time, and later at the National General Treasury. Both his grandfather (a painter) and his father were amateur photographers. His early discovery of the camera awakened in him an interest that he would continue to cultivate throughout his life. As a self-taught photographer, he would explore many different techniques, as well as graphic art. Influenced by his study of painting at the Academy of San Carlos, he embraced pictorialism at first. Then, with the discovery of cubism and all the possibilities offered by abstraction, he began to explore modern aesthetics. He had his initiation into documentary photography in 1930: when she was deported from Mexico, Tina Modotti left him her job at the magazine Mexican Folkways. He also worked for the muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Álvarez Bravo is an emblematic figure from the period following the Mexican Revolution often called the Mexican Renaissance. It was a time of a creative fertility, owing to the happy though not always tranquil marriage between a desire for modernization and the search for an identity with Mexican roots, in which archaeology, history and ethnology played an important role, parallel to the arts. Alvarez Bravo embodied both tendencies in the field of visual arts. Between 1943 and 1959, he worked in the film industry doing still shots, which inspired him to realize some of his own experiments with cinema. While Manuel Álvarez Bravo was alive, he held over 150 individual exhibitions and participated in over 200 collective exhibitions. According to several critics, the work of this "poet of the lens" expresses the essence of Mexico. However, the humanist regard reflected in his work, the aesthetic, literary and musical references it contains, likewise endow with a truly universal dimension. He died on October 19, 2002, at the age of one hundred.Source: www.manuelalvarezbravo.org Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston. In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.Source: Museum of Modern Art
Meryl Meisler
Meryl Meisler
United States
1951
Meryl Meisler was born 1951 in the South Bronx and raised in North Massapequa, Long Island, New York. Inspired by photographers such as Diane Arbus and Jacques Henri Lartigue, as well as her dad, Jack, and grandfather, Murray Meisler, Meryl Meisler began photographing herself, family, and friends while enrolled in a photography class taught by Cavalliere Ketchum at the University of Wisconsin, Madison. In 1975, Meisler returned to New York City and studied with Lisette Model, continuing to photograph her hometown and the city around her. After working as a freelance illustrator by day, Meisler frequented and photographed the infamous New York discos. As a 1978 C.E.T.A. Artist grant recipient, Meisler created a portfolio of photographs which explored her Jewish identity for the American Jewish Congress. After C.E.T.A., Meisler began a three-decade career as a NYC Public School Art Teacher. Meisler has received fellowships, grants, and residencies from the New York Foundation for the Arts, Light Work, YADDO, The Puffin Foundation, Time Warner, Artists Space, C.E.T.A., the China Institute, and the Japan Society. Her work has been exhibited at the Zillman Art Museum, Brooklyn Museum, Brooklyn Historical Society, Dia Art Foundation, MASS MoCA, Islip Art Museum, Annenberg Space for Photography, the New Museum for Contemporary Art, New-York Historical Society,Steven Kasher Gallery, the Whitney Museum of American Art, and in public spaces including Grand Central Terminal, South Street Seaport, Photoville, Vichy Portrait Festival, and throughout the New York City subway system. Her work is in the permanent collections of the American Jewish Congress,ARTPPOOL Budapest, AT&T, Bibliothèque Nationale de France, the Brooklyn HistoricalSociety, Book Art Museum (Poland), Columbia University, Emory University, Islip Art Museum,the Library of Congress, Musée de la Poste Paris, Smithsonian Institute, University of Iowa, and The Waskomium, and can be found in the artist book collections of Carnegie Mellon, the Centre Georges Pompidou, the Chrysler Museum, the Museum of Modern Art NYC, Metronome Library, and the Whitney Museum of American Art. Upon retiring from the New York City public schools, Meisler began releasing large bodies of previously unseen work. Her monographs have received international acclaim. A Tale of Two Cities: Disco Era Bushwick (Bizarre, 2014) juxtaposes her zenith of disco photos with images of the burned out yet beautiful neighborhood of Bushwick, Brooklyn in the 1980s. Her second book, Purgatory & Paradise: Sassy ‘70s, Suburbia &The City (Bizarre, 2015), contrasts intimate images of home life on Long Island alongside New York City street and night life. Her latest book New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) revieals darker sides of disco and takes the viewer into 1980s Bushwick school and street life. Meryl Meisler lives and works in New York City and Woodstock, New York. NIGHTLIFE NYC, 1977-2023 In 1975 Meryl Meisler moved to New York City. Two years later its most notorious and celebrated nightclub, Studio 54, opened its doors. Meisler immersed herself in the nightlife scene and began to make images of Studio 54's colorful pleasure-seekers, along with some of its most noted party-goers such as Andy Warhol. The photographer states, ''When Studio 54 opened, my friend JudiJupiter got us on the guest list as photographers. The doorman took a liking and parted the door for us night after night. Studio 54's fabulous changing décor, DJs, sound system, and incredible crowds of diverse ages, races, ethnicities, sexual orientations, and gender identities were thrilling.'' Fueled by the excitement of Manhattan's exploding club scene of the late 70s, Meisler photographed fashionable night revelers and celebrities at a number of other hedonistic havens that popped up throughout the City. Legendary clubs such as Copacabana, Paradise Garage, Hurrah, Xenon, GG's Barnum Room, CBGB, and erotic Go-Go bars, provided an endless and diverse array of extravagant subjects immersed in dance and party spectacles. Each venue had its own unique identity, clientele, and energy. Some club-goers who were unable to gain admission to Studio 54 or wanted a change of scenery explored the crowd, vibe, and music at other night spots. Meisler adds, ''On nights off, club owners and cohorts would party at other discos.'' It was on one of these evenings that Meisler photographed Halston and Studio 54 co-owner Steve Rubell comfortably huddled together on a couch at the club Hurrah. A monogamous relationship, full-time art teaching job, and the onset of the AIDS epidemic prompted the photographer's foray into nightlife culture to dramatically slow down around 1981. Meisler kept her collection of images to herself, as a sort of private visual memoir, until an encounter in 2014 at the drag & burlesque bar BIZARRE, in Bushwick. Many of the club's performers and the scene they created were reminiscent of the freedom and energy that abounded during New York City's nightlife heyday in the late 70s. This emerging scene with its emphasis on inclusion, costumed spectacles, and over-the-top revelry inspired Meisler to exhibit her earlier nightlife photos and, once again, document these venues of unbridled celebration. Dance and performance take center stage in many of Meisler's current images taken at clubs like Bushwick's House of Yes and Bartschland's roaming parties. These new club scenes with drag queens and kings, bodacious burlesque performers, acrobats, magicians, dancers, and disco divas add to the continuum of NYC's nightlife culture — honoring and elevating the dynamic spirit set forth by prior generations of party-goers. Article Street Walker
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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.
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Interview with Maureen Ruddy Burkhart
Interview
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.
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Exclusive Interview with Peter Ydeen
Interview
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.
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Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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