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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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Mary Anne Mitchell
Mary Anne Mitchell
Mary Anne Mitchell

Mary Anne Mitchell

Country: United States

Mary Anne Mitchell is a fine art photographer working primarily with analog processes. Her most recent series Meet me In my Dreams is shot using wet plate collodion. The images depict situations, often mysterious, which evoke her southern roots. She recently was a finalist in the 8th Edition of the Julia Margaret Cameron Awards and has been invited to exhibit some of this series in the 4th Biennial of Photography to be held in Berlin. Her work has been exhibited in solo and group exhibitions across the country and can be found in private and corporate collections across the US, Dubai, Taiwan, and Canada. She lives in Atlanta, GA.

Source: www.maryannemitchellphotography.com



About Meet Me in My Dreams, 2018
"This series is inspired by my poem Meet Me in My Dreams. The setting for many of the images is a fairytale landscape. My use of the young people celebrates the universal feeling of limitless potential that most people experience in their youth.

The ghostlike figures are reflections of the later years when beauty and youth begin to fade. They suggest the feeling that one is becoming invisible and yet still present and powerful.

The work speaks to family, memory, and the ethereal passage of time. The images are created using wet plate collodion. I scan and enlarge them to enhance the organic qualities of the medium.

These are the elements of my dreams." -- Mary Anne Mitchell

Meet Me in My Dreams

Walking through the forest of my dreams
I see a varied cast of characters.
Some are known
And some are strangers.
Some are real,
Some imagined.

I catch a glimpse of something yet I look again
and nothing is there, perhaps scattered by the wind.
My eyes are tricked by the play of light
on each and every tree.
I sometimes sense I am not alone and
someone watches me.

The stories told are mine alone.
Imagination fuels my memories and my vision is revealed.
I invite you to come and meet me in my dreams.

Interview with Mary Anne Mitchell

All About Photo:
I am a Georgia native and have exhibited my work in solo and group exhibitions throughout the United States. My photographs have been featured in online publications such as Burn and Plates to Pixels and can be found in private and corporate collections around the country.

AAP: When did you realize you wanted to be a photographer?
As a freshman in college, I bought a 35mm camera and took a class to learn how to use it and fell in love!

AAP: Where did you study photography?
Received a BFA from UGA in Athens, GA

AAP: What or who inspires you?
I always loved Edward Weston and Cartier Bresson as far as the masters of photography. My kids are currently my muses.

AAP: How could you describe your style?
Much of my work captures authentic moments in atmospheric b/w.

AAP: What kind of gear do you use?
I shoot film and use mostly 35mm Nikon cameras or Holga or Blackbird Fly plastic cameras.

AAP: Do you spend a lot of time editing your images?
In darkroom some dodging and burning.

AAP: Favorite(s) photographer(s)?
I always loved Edward Weston and Cartier Bresson as far as the masters of photography. There are so many contemporary photographers doing amazing work...hard to pick... really love Vivian Maier and her whole backstory is so fascinating.

AAP: What advice would you give a young photographer?
Shoot constantly but selectively.

AAP: Your best memory has a photographer?
Strolling anywhere in Europe, camera in hand!

AAP: Your worst souvenir has a photographer?
A soaking wet Nikon and lens after being knocked over in a canoe while trying to get an incredible shot!

Website

www.maryannemitchellphotography.com

 

Inspiring Portfolios

Anna Biret
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Svetlin Yosifov
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Shinji Ichikawa
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More Great Photographers To Discover

O. Winston Link
O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Karine Coll
Karine Coll
France
1973
Madly in love with the arts in the broad sense, greedy for words, stories, eager for esthetic experiences, passionate about theater, writing, full-time professor of letters, photographer-poet in my spare time, human being forever, Woman above all. For me, photography is the medium that allows me to get down to the essence of things, a three-step frenzied waltz in which scenography, esthetics and text all come together to create a powerful message. Driven by a desire to delve deep into the possible, i see the photo as responding to a need to go straight to the soul, with all its diversity of approaches, a way of looking at the body as a sculptured tool, a fragment of a human being, as a dreamlike narration, pictorial reality, the shots linked but not all alike, a perpetual exploration of the possible, malleable according to my desires, giving rise to sensation, to hypersensitivity. Fragments The hands, the hands as witnesses of a too long forgotten body, metonymic fragments of a neglected soul, given as food to the monster lurking in the shadows. The hands which twist in silence, those which counter blows, which protect themselves, those which heal wounds in the half-light without ever daring, cruel pantomime smothered in the hollow of a fist. A black and white, dark, realistic series featuring hands, in close-up, the body is erased, the hands alone carry the message. The image is soiled, a grain comes to invade the cliché, to soil it, drowning all humanity, all femininity. Silence, taboo, shut up! Suddenly, the hands are there, referees of the last chance, standing up timidly in a final attempt, the last ramparts against hatred ... do not lower your guard, stand up, the hands finally come together, ally because together they make sense. A glimmer of hope that seeps through clenched fingers, gradually the woman regains body, the fist crushes in an act of assumed resistance, an unexpected force at hand, carried by a desire to wake up the sorority of all . Peaux d'ombre Because the body is only a conception of the mind, a fantasy projection of our eye, erotic or plastic mass, the body dissolves in the image, becomes a play of curves, a chimera. It is in the shadow of time that the male body reveals its power, sublimating our shadow areas.
Bryan Schutmaat
Bryan Schutmaat
United States
1983
About Grays the Mountain Sends: This project combines portraits, landscapes, and still lifes in a series of photos that explores the lives of working people residing in small mountain towns and mining communities in the American West. Equipped with a large format view camera, and inspired by the poetry of Richard Hugo, I’ve aimed to hint at narratives and relay the experiences of strangers met in settings that spur my own emotions. Ultimately, this body of work is a meditation on small town life, the landscape, and more importantly, the inner landscapes of common men.Born, 1983, Houston, Texas. Currently based in Brooklyn, New York. Source: www.bryanschutmaat.com
Arnold Odermatt
Arnold Odermatt
Switzerland
1925 | † 2021
Arnold Odermatt was a Swiss police photographer whose work spanned more than 40 years. Originally trained as a baker, he was a photographer for the Nidwalden cantonal police from 1948 until his retirement in 1990. He is best known for his eerily beautiful black and white photographs of the aftermath of motor vehicle accidents. Odermatt joined the police in 1948 and rose to become a lieutenant, chief of the transport police, and deputy chief inspector of the Nidwalden Police before he retired. At the beginning of the 1990s, Odermatt's photography was discovered by his son, Urs Odermatt during research for his film Wachtmeister Zumbühl, and this work became a central theme in the film's plot. Urs brought his father's works together in the working groups entitled Meine Welt, Karambolage, Im Dienst, and In zivil and has published Odermatt's work ever since, working in collaboration with the Frankfurt art historian Beate Kemfert and a gallery in Berlin - Galerie Springer & Winckler. In 2001, Odermatt's photography was selected by Harald Szeemann to be exhibited at the 49th Venice Biennale. In 2002 James Rondeau exhibited Odermatt's work in its own right at the Art Institute of Chicago, as did Urs Stahel at the Fotomuseum Winterthur in 2004. Odermatt was born in Oberdorf, canton Nidwalden, Switzerland. He joined the Nidwalden Police in 1948. He was forced to give up his original career as a bakery and pastry chef on health grounds. As the policeman Odermatt first appeared with his Rolleiflex at the scene of an accident - to provide photos to complement the police report, people found this rather disconcerting. At that time, photography was anything other than an independent means of providing the police with evidence. A colleague observed Odermatt as he took pictures for the force and was suspicious. He was ordered to report to his commander immediately. Odermatt managed to convince his superiors of the pioneering work he was doing. They allowed him to convert an old toilet in an observation post in Stans into a makeshift darkroom. When the observation post was moved into another building several years later, Switzerland’s first police photographer was given his own laboratory. Odermatt's biggest role model was the famous Magnum photographer Werner Bischof. He met him once by chance, as he was on security duty on the Bürgenstock and wanted to photograph Charlie Chaplin. Odermatt's own style was characterized by sobriety and authenticity. The spartan linguistic expression of his police reports can also be found in Odermatt’s images. His craftsmanship is beyond question, nothing of note is missed by his photographic eye. In Karambolage, his most famous series of work, you can’t see the maimed victims but you do see the ethereal, surreal sculptures of scrap metal. With the softness and melancholy of Jacques Tati, he looks at the consequences of speed and the hectic nature of modern times. For 40 years, Odermatt captured the daily work of the Nidwalden police force. It was only rarely that the local press, the court or an insurance company were interested in his photos. It was only when his son, the film and theatre director Urs Odermatt, showed the photos for the first time at a solo exhibition in Frankfurt am Main that the art scene first became interested in his work. After the inspiring exhibition, the photo book Meine Welt followed. Suddenly the everyday observations from the central Swiss province had gained the same status as those of his well-traveled predecessor, Werner Bischof. At an early stage in his police career, when Arnold used the camera to catalog traffic accidents, this was a revolutionary innovation in the Swiss police. If Odermatt were to turn up at a crime scene with his camera today, he could expect to be told that photography was not for him, but was instead the job of a specially trained police photographer.Source: Wikipedia
Jon Wollenhaupt
Jon Wollenhaupt
United States
For more than 20 years I have been dedicated to photography and fine art printmaking. During this span of time, I have I provided photography services to corporations, not-for-profit organizations, and news and media outlets. My street photography has been exhibited nationally in the United States and published internationally. I have a degree in Fine Art from Grossmont College and further studies in Studio Arts at San Francisco State University. Other current work includes a series called Awakening, which is a series of photomontage works that involve the overlaying of disparate images that reflect the workings of the unconscious mind and amorphous embedded memories. I also experiment extensively with alternative printing processes such as platinum pallidum and cyanotype. About Tales of a City: San Francisco Artist North Beach© Jon Wollenhaupt For more than 10 years I prowled the streets of San Francisco taking photos without a particular theme in mind. Or, you could say the city itself was the theme. I was more interested in trying to reveal something about the fabric of the city than looking only at specific threads. I hope these photos display a faithful chronicle of everyday life, in which there is glimmer of what John Szarkowski calls “ineffable dramatic possibilities.” Can it be that the capture of those small daily dramas that take place on busy streets, in alleys, and between tall buildings, can tell the story of a city as complex and unique as San Francisco? Perhaps. The story of a great city is always unfolding, and each day a page of a new chapter begins."
Patrick Wack
Patrick Wack
France
1979
Patrick Wack was born in Cannes in 1979 and grew up in the Paris suburbs. A former top sportsman, he has a degree in foreign languages and a diploma from the Ecole Supérieure de Commerce de Paris. His studies took him to the United States, Sweden and Germany. A self-taught photographer, he left Berlin in 2006 for China with the ambition of documenting its emergence, and the hope of living a life off the beaten track. He was based in Shanghai for eleven years as a freelance photographer alternating between commissions for the international press and institutional clients. He also worked on long-term documentary projects on themes important to the understanding of our times. These include urban change and forced modernisation in China, the Tibetan question, inter-ethnic tensions in the Balkans and the 'pioneering front' of the New Silk Road in its aesthetic, social and political dimensions. After eleven years in China, he now divides his time between Europe, China and Russia. His reports have been published in Time magazine, The Sunday Times, Géo, The British Journal of Photography and Courrier International, among others. He is one of the co-founders of the photographic cooperative Inland. DUST Dust, a monographic book by photographer Patrick Wack on the Uyghur communities. The monograph DUST gathers four years of work by French photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration. In recent years, the region has been at the centre of an international outcry following the mass-incarceration of its Uyghur population and other Muslim minorities. This body of work captures a visual narrative of the region and is a testimony to its abrupt descent into an Orwellian dystopia. In 2016 and 2017, Wack spent more than two months in Xinjiang photographing Out West, his first long-term project about the region. He decided to return in 2018, upon reading reports of the mass arbitrary detention system being set up there. In 2019, he travelled to Xinjiang on two separate occasions for another project, The Night Is Thick. This second reportage aimed at documenting life under acute repression among the Uyghur minority alongside the disturbing simultaneous increase of Han-Chinese tourism in the region. These images have been widely published and exhibited over the past four years, illustrating the situation in the region, and have received numerous accolades. Recent events in Xinjiang are now considered some of the most severe crimes against humanity currently unfolding in the world and this project is possibly the most complete photographic documentation of the region in recent years. Find out more about DUST
Tebani Slade
Tebani Slade
Australia
1966
Tebani Slade is a fine art, street and documentary photographer based between Australia and Barcelona. Her approach to photography involves storytelling and seeking the truth in her observations. She prefers to venture to unfamiliar destinations with an open mind, devoid of preconceived notions or generic perspectives. Armed only with her camera, Tebani allows events to unfold naturally, following the path that each location leads her on. A former graduate of the Queensland College of Art, Australia she also holds a Master of Distinction with the NZIPP (New Zealand Institute of Professional Photography). She has received recognition and awards for her photography, which has been exhibited both nationally and internationally. Her work has been showcased in group exhibitions such as Women Street Photographers in Kuala Lumpur and the Indian Photo Festival, as well as the Women Street Photographers annual exhibition in New York and the MIA Photo Fair in Milan. She was a finalist in the Australian Head On Photo Awards 2021 and 2022 and took first place in the 2022 Australian Mono Awards. In 2023 she was a finalist in the Mullins Conceptual Photography Prize and was awarded Australian Documentary Photography of the Year with the NZIPP. Her work has been featured in numerous publications including Australian Photography Magazine, Aust Capture Magazine, Aust Commercial Photography, Black & White Photography (UK edition), B&W (US edition), Nikon UK, The Guardian Australia, Loud & Luminous Book 2020 (a Celebration of Australian Women Photographers).
Herb Ritts
Herb Ritts
United States
1952 | † 2002
Herb Ritts began his photographic career in the late 70's and gained a reputation as a master of art and commercial photography. In addition to producing portraits and editorial fashion for Vogue, Vanity Fair, Interview and Rolling Stone, Ritts also created successful advertising campaigns for Calvin Klein, Chanel, Donna Karan, Gap, Gianfranco Ferré, Gianni Versace, Giorgio Armani, Levi's, Pirelli, Polo Ralph Lauren, Valentino among others. Since 1988 he directed numerous influential and award winning music videos and commercials. His fine art photography has been the subject of exhibitions worldwide, with works residing in many significant public and private collections. In his life and work, Herb Ritts was drawn to clean lines and strong forms. This graphic simplicity allowed his images to be read and felt instantaneously. They often challenged conventional notions of gender or race. Social history and fantasy were both captured and created by his memorable photographs of noted individuals in film, fashion, music, politics and society. Ritts was committed to HIV/AIDS related causes, and contributed to many charitable organizations, among them amfAR, Elizabeth Taylor AIDS Foundation, Project Angel Food, Focus on AIDS, APLA, Best Buddies and Special Olympics . He was also a charter member on the Board of Directors for The Elton John Aids Foundation.Source: www.herbritts.com Born in Los Angeles, to a Jewish family, Ritts began his career working in the family furniture business. His father, Herb Ritts Sr., was a businessman, while his mother, Shirley Ritts, was an interior designer. He moved to the East Coast to attend Bard College in New York, where he majored in economics and art history, graduating in 1975. Later, while living in Los Angeles, he became interested in photography when he and friend Richard Gere, then an aspiring actor, decided to shoot some photographs in front of an old jacked-up Buick. The picture gained Ritts some coverage and he began to be more serious about photography. During the 1980s and 1990s, Ritts prominently photographed celebrities in various locales throughout California. Some of his subjects during this time included Cher, Tina Turner. Elizabeth Taylor, Vincent Price, Madonna, Denzel Washington, Johnny Depp, Ronald Reagan, David Bowie, Courtney Love, Liv Tyler, Matthew McConaughey, Britney Spears, Björk, Prince, Michael Jackson, Axl Rose, Slash, and Mariah Carey. He also took many fashion and nude photographs of fashion models Naomi Campbell, Stephanie Seymour, Tatjana Patitz, Christy Turlington, and Cindy Crawford, including "Tatjana, Veiled Head, Tight View, Joshua Tree, 1988." Ritts' work with those models ushered in the 1990s era of the supermodel and was consecrated by one of his most celebrated images, "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" taken for Rolling Stone Magazine. He also worked for Interview, Esquire, Mademoiselle, Glamour, GQ, Newsweek, Harper's Bazaar, Rolling Stone, Time, Vogue, Allure, Vanity Fair, Details, and Elle. From 1996 to 1997 Ritts' work was displayed at the Museum of Fine Arts in Boston, attracting more than 250,000 people to the exhibit, and in 2003 a solo exhibition was held at the Daimaru Museum, in Kyoto, Japan. On December 26, 2002, Ritts died in Los Angeles of complications from pneumonia at the age of 50. Ritts was openly gay, and according to Ritts' publicist, "Herb was HIV-positive, but this particular pneumonia was not PCP (pneumocystis pneumonia), a common opportunistic infection of AIDS. But at the end of the day, his immune system was compromised."Source: Wikipedia
Thomas Crauwels
Thomas Crauwels
Switzerland
1983
I live at the service of these impetuous guardians of the eternal snows. Watching their light, vibrating to the rhythm of their beauty has become second nature. I like to live these moments of contemplation of panoramas both frozen and changing, which feed me with their greatness. In these moments, I taste peace and melt into the landscape. When the clouds are absent, when my gaze goes on forever and I can let my inspiration flow freely. Without any particular goal. Just to live. To let myself be carried. At other times, I become a truth hunter. I look for the ephemeral moments. The coming storm. The elements colliding. The wind, the air, the rock, creating a chaos that engulfs me in intense and intoxicating sensations. These minutes where I hold my breath so much they are nimbered of a perfection which exceeds me and carries me in a different space. A space that my eye and its accomplice, my camera, know how to capture. Suddenly, everything calms down. Just after the fin of the world, the revelation of another world arrives. Before my amazed gaze, my senses on the alert, the clouds are torn apart like the curtain rises on a new show. The highest summits are adorned with another light, a new contrast. Nature creates before my eyes. Trembling with an inner joy, I try to capture impermanence. It is like a miracle always renewed. Just after the storm, when the first rays of sunlight illuminate the peaks with their royal light. My daily life is punctuated by the study of weather forecasts. Detecting the approach of the forces of nature. A subtle alliance between intuition and the rational study of the elements. I am at one with nature, who is the chief creative artist...and I the humble craftsman. Mixture of experience and naivety, dancing alchemy of summits and elements, fusion between nature and the human being that I am. Who am I in front of all this? A stardust, present, vibrating, panting in the heart of the mystery of life. I aspire to the mastery of the moment which however escapes... In the end, should I really try to control the moment? When I have everything in place with rigor and yet failure looms, I let my heart speak. And then, sometimes, the miracle happens. This miracle that floods me with joy. I am happy to share with you some of the nuggets I brought back from these journeys to the end of my dreams... My quest for an ever-renewed perfection, nature has offered it to me so that I can offer it to you in turn. I hope you will have as much pleasure in dreaming in front of these photos as I had in looking for the perfect moment, the right moment.
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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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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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