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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Souichi Furusho
Souichi Furusho
Souichi Furusho

Souichi Furusho

Country: Japan
Birth: 1977

I live in Kumamoto-Japan, and work as a graphic designer in the field of advertising media. I discovered iPhoneography on Facebook and Flickr a couple of years ago, about the same time I bought my iPhone. That was followed by a variety of delightful encounters with people online. I have since participated in exhibitions in "Spain, The Netherlands, and California" along with iPhonegraphers from various countries. Although I had no prior experience whatsoever as a photographer, I was familiar with working with photographs as part of my career in graphics. My style is what I call "freedom & simple", and I approach it from many different angles. This style is the result of pursuing my own vision, which is represented by my works. iPhoneography has provided interesting opportunities for my new form of representation.

The umbrella has become a symbol essential to my work. For me, the umbrella embodies the thoughts and dreams of people. This is a series of images using the umbrella as “a vehicle which carries a dream.
 

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More Great Photographers To Discover

Marie-Laure Vareilles
- Testify to the variety of cultures on our planet.Education: Interior architect. I travelled on all continents, camera in hand, to testify of the diversity of countries on our planet. Over the years I have experienced different cultures, landscapes, encounters … The cultures of the entire world are in constant evolution. My work is to serve the memory of the people and their countries all around the world.- Creation of photo montage : imagine a universe of possibilities, elaborate the encounter of the unlikely. Mixing elements, transforming scale relations, rejecting logical constructions... Today I give a new life to the thousands of negatives taken, recreating imaginary worlds where poetry, dreams and surrealism alternate.- Permanent exhibition : Marseille : galerie Massalia; Vaison la Romaine, in the old town : atelier ANSATU & MAILOAll about Marie Laure Vareilles:AAP: When did you realize you wanted to be a photographer?It was not my dream.AAP:Do you have a mentor?I remember about the first exhibition I have visited : it was Salgado with beautiful works in black and white. The subject he had worked on was men working by hand, all over the world... Beautiful.AAP: How long have you been a photographer?I took my first photo in 1985, while traveling in Turquey. It was my first trip alone abroad and I wanted to share my impresion with my family. Taking photos seemed to be the best medium for sharing places I had visited, people I had met.AAP: What or who inspires you? Since I am travelling and taking photos, I have realised how fast our world is changing. Faster and faster. Shooting is a way to keep testimony from a time which doesn’t exist any more : the more I travel, the more I realise that our differences are less and less visible.AAP: How could you describe your style?I shoot what I see, very quickly. But as soon as light is changing I shoot again ! Landscape, architecture, sky, people... many subjects can be interesting for the montages I create when I come back in my studio.AAP: What kind of gear do you use? Camera, lens, digital, film?Since the begining, I am working with Nikon cameras. During the last few years, I have definitly adopted digital camera. My last one is the D-800.AAP: Do you spend a lot of time editing your images?Not enough : after shooting, I spend a lot of time creating montages. For this reason I keep each photo, just in case ! But it might be a problem in the futur with hardware !AAP: Favorite(s) photographer(s)?They are so many. Editing a list would be a nightmare. Especially if I forgot to mention some of them.AAP: Your best memory has a photographer?I will never forget my experience in Bangladesh. I had never seen so many people working by hand, what ever they do, transport, create, make… they do not use use any machine. They work hard in bad conditions but they keep smiling!AAP: Your worst souvenir has a photographer?I had a bad time in Guinea. Working for an editor who wanted me to take photos from the Niger river and the every day life. The problem is I had to deal with blackmail from the people who were supposed to help me.
Dale Odell
United States
Dale O'Dell lives in Prescott, Arizona and is a professional photographer and digital artist. He studied photography and philosophy in college and earned a Bachelor's of Science degree in Photography in 1982 from Sam Houston State University in Huntsville, Texas. Since 1979 he has exhibited in over two-hundred group and solo shows, his works have been exhibited and published internationally and he's written for most of the leading photographic magazines and journals. He is a consummate experimenter and innovator and works with diverse subjects in a variety of styles. He has published nineteen art books and is currently at work on number twenty. He uses modern digital technologies to create artwork in a variety of styles. “Using the power of technology and an active imagination there are few limitations. I've produced straight documentary-style photos, advertising, editorial illustration, street photography, portraiture, landscape, infrared, night and astronomical photography as well as abstract-expressionism, impressionism and surrealism. You won't find me making the same image over and over.” Despite their photographic origins, Dale's images are best described as 'photo/digital artworks' and are not all straight photographs. He has fully embraced the digital revolution of photography to explore expression beyond traditional photographic limitations. Zen Cairns A cairn is a human-made pile (or stack) of stones. The word cairn comes from the Scottish Gaelic: càrn. Cairns are used for a variety of purposes. In modern times, cairns are often erected as landmarks, a use they have had since ancient times and cairns are used as trail markers in many parts of the world. They vary in size from small stone markers to entire artificial hills, and in complexity from loose conical rock piles to delicately balanced sculptures and elaborate feats of megalithic engineering. Cairns may be painted or otherwise decorated, whether for increased visibility or for religious reasons. The Zen Cairns came into existence as a result of researching what other photographers had done with the cairn as subject. I look at others' works to see what's already been done with the subject. This helps me to avoid repeating what others have done and (hopefully) forge my own path of originality with the subject. As I studied the myriad of cairn photos online I saw some that made me look twice and carefully consider the laws of gravity. While I saw many examples of true 'balance artistry' when stacks of rocks seemed to be magically balanced for real, I also saw images that really did defy the law of gravity. These were 'impossible' stacks of rocks that, at first glance, looked 'real,' but they were, in fact, held together with metal rods or glue. These were probable yet impossible cairns. A quick look at these could easily fool the viewer. Looking at the probable yet impossible cairns I thought I could create a series of physically impossible yet visually probable cairns - after all, I do have Photoshop. Almost immediately I could see the finished images in my minds-eye. I went to my sketchbook and very quickly did a series of drawings - which came to me full-blown, complete with titles! I already had the river rocks in my studio so I photographed them all twice, with lighting from two different directions, allowing me to use them in different ways in Photoshop yet keep a consistent direction of light. With the image fully-formed in my mind's eye I created a portrait-studio type background which would be lit oppositely from the rocks. I did a quick version of this background as a proof-of-concept (which worked) and then went to various paint and lighting programs to create the actual background. Interestingly, each new and improved background failed to work in the image and I ultimately ended up using the original proof-of-concept background. Sometimes you get it right the first time but you've got to do the extra work anyway so you know the first one really does work and you didn't quit too soon. For consistency I used the same background for all ten images. Using my sketches as guides I assembled each image from individually photographed river rocks. I added shadows to simulate what it would really look like as a set in the studio. I sharpened all the rocks to enhance their texture and softened the background to create a more three-dimensional effect. I worked in black and white to emulate the luminosity of classic B&W still-life prints from the darkroom. It is my hope that the direction of light, shadows and texture induces an emotional response of 'reality' in the viewer before the intellect of analysis informs them, 'this is not real.'
Yann Arthus-Bertrand
Yann Arthus-Bertrand, born in 1946, has always had a passion for the animal world and the natural environment. At the age of 20, he settled in central France and became the director of a nature reserve. When he was 30, he travelled to Kenya with his wife with whom he carried out a three-year study on the behaviour of a family of lions in the Massaï Mara reserve. He quickly started using a camera as a visual aid to capture his observations and enhance the written reports they compiled. While in Africa, he earned his living as a hot-air balloon pilot. This was when he really discovered the earth from above and the advantages of viewing what he was studying from afar to gain an overall picture of an area and its resources. He discovered his calling: to demonstrate the Earth’s beauty and show the impact of mankind on the Planet. His first book, Lions, was born of this adventure – he likes to call these lions his "first photography teachers." Little by little, Yann became a reporter focusing on environmental issues, and collaborating with Geo, National Geographic, Life, Paris Match, Figaro Magazine etc. He then started a personal work on the relationship mankind/ animal, which led to the books Good Breeding and Horses. In 1991, he founded the first aerial photography agency in the world. For the First Rio Conference in 1992, Yann decided to prepare a big work for the year 2000 on the state of the planet: it is The Earth From the Air. This book encountered a great success and over 3 million copies were sold. The outdoor exhibitions have been seen so far by about 200 Million people. Yann then created the Goodplanet Foundation that aims to raise public awareness of environmental issues, implement carbon offset programmes and fight deforestation with local NGOs. Within the Foundation, he developed the 6 billion Others project, that has just changed names and become 7 billion Others. More than 6000 interviews were filmed in 84 countries. From a Brazilian fisherman to a Chinese shopkeeper, from a German performer to an Afghan farmer, all answered the same questions about their fears, dreams, ordeals, hopes: "What have you learned from your parents? What do you want to pass on to your children? What difficult circumstances have you been through? What does love mean to you?" Forty or so questions that help us to find out what separates and what unites us. Due to this involvement, Yann Arthus-Bertrand is today considered more an environmentalist and activist than a photographer. It is because of this commitment that Yann Arthus-Bertrand was designated Goodwill Ambassador for the United Nations Environment Programme on Earth Day (April 22nd, 2009). In 2006, Yann started the series Vu Du Ciel, a television documentary series of several one-and-a-half hour episodes, each dealing with a particular environmental problem. It was shown on French public television and is currently being distributed for broadcast in 49 countries. Encouraged by his television experiment, Yann Arthus-Bertrand undertook the production of a full-length feature film, HOME, that deals with the state of our planet. The film was released on the 5th of June 2009 on television, on the Internet, on DVD and in cinemas simultaneously worldwide, almost entirely free of charge to the public. More than 600 million people have seen it so far. In 2011, Yann directed two films for the United Nations : the film Forest, official film of the 2011 International Year of the Forest, and the film Desertification. Both were screened during UN General Assemblies. Yann founded a non-profit production company, Hope. For the World Water Forum in March 2012, Yann, Thierry Piantanida and Baptiste Rouget-Luchaire directed a film narrating the history of water and reminding us that reasoned management of water is a crucial challenge for our century. This documentary was broadcast on French national television on the 20 th of March 2012. For Rio + 20, Yann directed the film Planet Ocean with Michael Pitiot. This film aims to promote understanding of the importance of oceans in the ecosystem. In the same time, the GoodPlanet Foundation initiated a “Ocean Programme”, to raise awareness of the importance of marine ecosystems. At the heart of this programme, the publication of the book “L’Homme et la Mer” by the Editions de la Martinière, available in bookstores from the 18 th of October 2012.All the films produced by HOPE are available free of charge to NGOs, nonprofits and schools in the frame work of environmental education. Source: www.yannarthusbertrand.org
Noémie Goudal
France
1984
Noémie Goudal's practice involves the construction of ambitious staged, illusionistic interventions within the landscape, documented using film and photography. Her oeuvre expands photography across its standard parameters, into immersive installations and performances, underpinned by rigorous research examining the intersection of ecology and anthropology and the limitations of theoretical conceptions of the natural world. Goudal's latest work unravels an artistic dialogue with the field of paleoclimatology, analysing climate and geology from the vantage point of "deep time" to acquire an understanding of our planet's trajectory. Goudal's work creates an intellectual bridge between our experience of "real time" and deep time, measured in millions of years, exposing the geographies of the earth as we know them to be mere momentary states in a cycle of continuous flux. Noémie Goudal (b.1984) graduated from the Royal College of Art (UK) in 2010 with an MA in Photography. She is currently shortlisted for the Prix Marcel Duchamp 2024. Solo exhibitions include Mostyn, Llandudno, UK (2024); FRAC Auvergne, Clermont-Ferrand, France (2024); ANIMA, Tate Modern, London, UK; Venice Theatre Biennale, Venice, Italy and Centre Pompidou, Paris, France (2023); Post Atlantica, Les Rencontres d'Arles, Arles, France (2022); ANIMA, Festival d'Avignon, Avignon, France (2022); Décantations, La Vitrine, Frac Île-de-France, Paris, France (2022); Post Atlantica, Le Grand Café Centre d'Art Contemporain, Saint-Nazaire, France (2021); Echos toujours plus sourds, Musée Delacroix, Paris, France (2021); Observatorium, Kunstverein Hildesheim, Hildesheim, Germany (2019); Telluris, Ballarat International Foto Biennale, Ballarat, Australia (2019); Telluris, Musée des Beaux-Arts Le Locle, Le Locle, Switzerland (2019); Stations, The Finnish Museum of Photography, Helsinki, Finland (2018); Southern Light Stations, The Photographer's Gallery, London, UK (2016); The Geometrical Determination of the Sunrise, FOAM Museum, Amsterdam, Netherlands (2015). Selected group exhibitions include Second Nature: Photography at the Age of the Anthropocene, Nasher Museum, Durham, NC, USA (2024-2026); Un Manifeste du regard sur la Nouvelle Aquitaine, Frac Nouvelle-Aquitaine La MÉCA, Bordeaux, France (2024); New Worlds: Women to Watch 2024, National Museum of Women in the Arts, Washington, USA (2024); PHOTO 24, Melbourne Photo Biennale, Melbourne, Australia (2024); Bella Vista, Centre d'Art Contemporain, Sant-Nazaire, France (2021); Accelerate Your Escape: Gary Hume Explores the Hiscox Collection, Whitechapel Gallery, London, UK (2020); Inner Space, Lisbon Architecture Triennale, National Museum of Contemporary Art, Lisbon, Portugal (2019); MELTDOWN: A Visualization of Climate Change, Horniman Museum, London, UK (2019). Goudal's work is held in public collections including Centre Pompidou, Paris, France; David Roberts Art Foundation, London, UK; FOAM Museum, Amsterdam, The Netherlands; Fotomuseum Winterthur, Winterthur, Switzerland; High Museum of Art, Atlanta, USA; Kadist Art Foundation, Paris, France; Kiran Nadar Museum of Art, New Delhi, India, the Victoria & Albert Museum, London, UK and The New Art Gallery Walsall, Walsall, UK. Noémie Goudal lives and works in Paris.
Stefano Azario
Born in Paris, July 31 1966, Stefano Azario is a photographer and director now living between Milan and New York. Stefano began taking photographs at the age of 11 in 1977, shortly after the loss of his father. His family moved from Italy to London in 1979, where he studied photography at the London College of Printing from 1984 to 1987. Having developed a reputation as one of the best-known commercial photographers of children and babies, Stefano is currently concentrating more in documentary and fine art photography. A turning point in Stefano's career came in 1992 when Vogue Bambini began commissioning him regularly until the magazine's demise in 2018. In 2013, Stefano was asked to plan and photograph an entire issue of the magazine. In 1994, Stefano started shooting Gap Kids and BabyGap global advertising campaigns and continued uninterrupted for over 25 years. Major publications, advertising agencies, and globally known brands have worked with him. Benetton, Uniqlo, and Armani are just a few of the brands he has collaborated with. In his photography, Stefano tries above all to lead from the heart. With the likes of Dorothea Lange, Irving Penn and Luigi Ghirri as inspiration, Stefano is nimble in his working ways; at home directing on large video sets or shooting solo. Whether accessing his intimate and tender vision of children and babies or shooting in the Indonesian forest, he enjoys using a whole gamut of different cameras, films and technology, constantly challenging his way of seeing. His last exhibition "In Cerca Della Retta Via" at the No Gallery in Pontremoli, was put together with the patronage of the Italian Ministry of Culture as part of the Lunigiana Land Art festival in 2022. Statement Through the viewfinder I aim to capture fleeting, heartfelt moments that tell compelling human stories. I seek to make order of the world around me, to share an intuitive perspective, in the hope that my images can evoke emotions and memories, connecting viewer and subject. Throughout my career I have been drawn to projects that explore themes of childhood and relationships, seeking to convey experiences that shape us in these formative years. More recently I have roamed other areas from landscape to portraiture to expand and challenge my photographic practice and storytelling ability. In Search of a Path
Aleksander Rodchenko
Russia
1891 | † 1956
Aleksander Rodchenko was a Russian and Soviet artist, sculptor, photographer, and graphic designer who emerged following the Russian Revolution. He was one of the founders of Russian Constructivist and a Productivist artist, married to artist Varvara Stepanova. He began his career as a painter and graphic designer before moving on to photomontage and photography. His photography was socially involved, formally creative, and anti-painting. Concerned about the necessity for analytical-documentary picture series, Aleksander Rodchenko frequently shot his subjects from unusual angles—usually high above or low below—in order to shock the viewer and delay recognition. "One has to shoot several distinct photos of a subject, from diverse points of view and in varied settings, as though one viewed it in the round rather than looking through the same key-hole over and over," he wrote. Only the camera seems to be really capable of describing modern life. -- Aleksander Rodchenko Aleksander Mikhailovich Rodchenko was born in St. Petersburg to a working-class family that relocated to Kazan when his father died in 1909. He became an artist without any prior exposure to the art world, relying mostly on art periodicals for inspiration. Aleksander Rodchenko began studies at the Kazan Art School in 1910, under Nicolai Fechin and Georgii Medvedev, when he met Varvara Stepanova, whom he eventually married. The critic Osip Brik, 1924© Aleksander Rodchenko Following 1914, he continued his artistic education at the Stroganov Institute in Moscow, where he created his first abstract drawings in 1915, influenced by Kazimir Malevich's Suprematism. The following year, he took part in The Store, an exhibition organized by another formative influence, Vladimir Tatlin. Rodchenko's work was influenced heavily by Cubism and Futurism, as well as Malevich's Suprematist compositions, which featured geometric forms deployed against a white background. Aleksander Rodchenko was Tatlin's student and assistant, and the interest in figuration that characterized Rodchenko's early work faded as he experimented with design elements. He created his paintings with a compass and ruler, with the goal of eliminating expressive brushwork. Rodchenko worked for Narkompros and was one of the RABIS organizers. RABIS was founded between 1919 and 1920. In 1920, the Bolshevik government appointed Rodchenko as Director of the Museum Bureau and Purchasing Fund, with responsibility for the reorganization of art schools and museums. He became the secretary of the Moscow Artists' Union, established the Fine Arts Division of the People's Commissariat for Education, and assisted in the establishment of the Institute for Artistic Culture. From 1920 to 1930, he was a teacher at the Higher Technical-Artistic Studios, a Bauhaus organization with a "checkered career." It ceased operations in 1930. In 1921, Aleksander Rodchenko joined the Productivist group, along with Stepanova and Aleksei Gan, to advocate for the incorporation of art into everyday life. He abandoned painting to focus on graphic design for posters, books, and films. He was profoundly influenced by the ideas and practice of filmmaker Dziga Vertov, with whom he collaborated extensively in 1922. Impressed by the German Dadaists' photomontage, Rodchenko began his own experiments in the medium, first using found images in 1923, and then shooting his own photographs from 1924 on. In 1923, his first published photomontage illustrated Mayakovsky's poem About This. Rodchenko created his most famous poster in 1924, an advertisement for the Lengiz Publishing House titled Books, which features a young woman with a cupped hand shouting "Books in all branches of knowledge," printed in modernist typography. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time. -- Aleksander Rodchenko Portrait of the Artist’s Mother, 1924© Aleksander Rodchenko From 1923 to 1928, Rodchenko worked closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, Constructivist artists' publications. Many of his photographs were published in or used as covers for these and other publications. His images were concerned with the placement and movement of objects in space, as well as the elimination of unnecessary detail. During this time, he and Stepanova painted the well-known panels of Moscow's Mosselprom building. Varvara Rodchenko, their daughter, was born in 1925. Rodchenko's work was very abstract throughout the 1920s. He joined the October Group of artists in 1928, but was expelled three years later after being accused of "formalism," an accusation first leveled in the pages of Sovetskoe Foto in 1928. In the 1930s, as the Party's guidelines governing artistic practice shifted in favor of Socialist realism, he focused on sports photography and images of parades and other choreographed movements. In the late 1930s, Aleksander Rodchenko returned to painting, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. Throughout these years, he continued to organize photography exhibitions for the government. In 1956, he died in Moscow.
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AAP Magazine #59 Shapes
Win a Solo Exhibition in July
AAP Magazine #59 Shapes

Latest Interviews

Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
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.
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