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Jim Dow
Jim Dow

Jim Dow

Country: United States
Birth: 1942

Jim Dow (b. 1942, Boston, Massachusetts) is an American photographer who specializes in photographing places, not people. In the tradition of Walker Evans, Dow examines both high and low - baseball stadiums, universities, court houses, Americana, private clubs in New York. His exquisitely detailed work is printed from 8x10" negatives and brings the richness of texture and light to the forefront. Dow photographs urban and rural architectural sites--from drive-in fruit stands to Gothic cathedrals. 8x10" negatives provide extraordinary clarity and precision in his prints, either contact prints or 20x24." His newest series is called "American Studies."

Source: Wikipedia

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Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Simon King
Simon King
United Kingdom
1995
Simon is a London based Street and Documentarian photographer. His time is divided between shooting personal projects, assignments, and general street photographs. Simon also teaches a short course in Street Photography at the University of the Arts, London, with a focus on empowering students to overcome boundaries when shooting on the street, as well as how to discover details and moments in the world around them, and translate those into images. Simon's projects include work behind the scenes at London Fashion Week, as well as a number of movie and television sets. His BTS work relies heavily on his street photography style, and approach towards candid scenes. His work now takes him around the world, as he narrows the scope of his storytelling to focus on elements of humanity that fascinate him. His photography features emotion and energy in every frame, with a real sense of empathy and compassion towards his subjects. Despite this emphasis on character and emotion his images are distinct in their minimalism, telling the story with as few elements as possible. The majority of his work is shot on 35mm film, which offers the best balance in terms of quality and manoeuvrability.
Enrico Pescantini
Enrico Pescantini
Italy
1984
Born in Italy, but a citizen of the world, Enrico Pescantini has visited over 66 countries in the world, experimenting with all kind of photography: from taking Polaroids of Barbie and Ken in Israel and Cuba to pioneer drone photography in Iceland, from sneaking pics in North Korea to take portraits of monks in Tibet. Currently living in Milan, where he works on its exhibitions, partnerships with tourism boards and of course, the next travel destination. Enrico Pescantini's photography is defined by vibrant colours and different perspectives, using drone, digital and underwater photography to give the audience an immersive experience of each travel destination, that can't be confined in just one point of view. His hope is to inspire people with the beauty of our world: he strongly believes that traveling brings people together, giving them understanding that we all live on the same planet, and we need to work together to preserve it. Barbie Around The World
Oliviero Toscani
Oliviero Toscani
Italy
1942 | † 2025
Oliviero Toscani was an Italian photographer whose groundbreaking and often controversial advertising campaigns revolutionized the intersection of art, commerce, and social commentary. Best known for his work with Italian fashion brand Benetton from 1982 to 2000, Toscani transformed advertising into a platform for provocative and thought-provoking messages on issues such as AIDS, racism, religion, and capital punishment. Born in Milan, Toscani inherited a passion for photography from his father, Fedele Toscani, a renowned photojournalist and co-founder of the Publifoto agency. After earning his diploma at the Kunstgewerbeschule Zürich, Toscani began his career collaborating with leading magazines such as Elle, Vogue, L’Uomo Vogue, and Harper’s Bazaar. His early work set the stage for a career that would challenge conventions and ignite conversations worldwide. In 1982, Toscani became Art Director for the Benetton Group, where he created some of the most iconic and controversial advertising campaigns in history. Among these was the unforgettable image of David Kirby, a man dying of AIDS, which echoed the composition of religious pietà paintings. While some criticized the ad for exploiting tragedy to sell clothing, the Kirby family praised it for raising global awareness about AIDS. Other campaigns addressed themes of racial equality, war, and even the death penalty, pushing boundaries and reshaping public perceptions of advertising's role in society. In the early 1990s, Toscani co-founded Colors, a magazine created with American graphic designer Tibor Kalman. With the tagline “a magazine about the rest of the world,” Colors reflected the multicultural ethos of Benetton's campaigns while maintaining editorial independence. Toscani’s tenure at Benetton ended in 2000, but his impact on the brand—and the advertising world—remains indelible. A resident of Tuscany, Toscani continued to innovate beyond the fashion industry. In 2003, he founded La Sterpaia, a research facility dedicated to modern communication, in collaboration with the Regione Toscana. His later projects, including campaigns addressing anorexia and LGBTQ+ rights, further demonstrated his commitment to using photography as a medium for social change. Toscani’s career was not without controversy. His 2005 campaign for the clothing brand Ra-Re, featuring images of men engaging in intimate behavior, sparked outrage among conservative groups. In 2007, his stark portrayal of anorexia through the haunting image of Isabelle Caro drew both acclaim and criticism for its raw honesty. Despite these controversies, Toscani remained a cultural force. When Luciano Benetton returned to the helm of the Benetton Group in 2018, Toscani rejoined him, marking a new chapter in their creative partnership. That same year, he became a member of Italy's Democratic Party, further highlighting his engagement with societal issues. Toscani faced health challenges in his later years, battling amyloidosis. He was hospitalized on January 10, 2025, and passed away three days later at the age of 82. Oliviero Toscani's legacy endures as a testament to the power of photography to challenge norms, inspire dialogue, and provoke change. His work reminds us that art can be more than an aesthetic endeavor—it can be a catalyst for understanding and transformation in the world.
Rainer Elstermann
Rainer Elstermann
Germany
1965
Rainer Elstermann was born in West-Berlin in 1965. He took his first self-portrait-photographs when he was 17 years old. In 1983 when he was 18 he started working with the avantgarde experimental super-8 film production company Teufelsberg Produktion. In 1984 he began being seriously involved with photography after his uncle gave him a complete dark-room equipment. Further encouragment came by the way of famous fashion photographer Paolo Roversi who photographed Rainer Elstermann for Italien Vogue in 1985. After seeing his portfolio he insisted Rainer should be a fashion photographer in Paris. Instead Rainer Elstermann moved to London in 1988 where he remained until 1992, realizing little art projects and exploring photography. First assignements followed. In 1999 he started his studio as an advertising photographer. From 2006 Rainer Elstermann projects moved again towards Art photography and since 2009 he is exclusively concentrating on Art. Also in 2006 he met Andreas Stamm and they have been working together since.
Raymond Cauchetier
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
Benjamin Dimmitt
Benjamin Dimmitt
United States
Benjamin Dimmitt photographs wetlands and forests using film and a medium format camera. He uses his camera to investigate interdependence, competition, survival and mortality in the natural world. Benjamin was born and raised on the Gulf Coast of Florida. He graduated from Eckerd College in St. Petersburg, FL and also studied at the International Center of Photography in NYC, NY, Santa Fe Photographic Workshop in Santa Fe, NM, Santa Reparata Graphic Arts Centre in Florence, Italy and City and Guild Arts School in London, England. He moved to New York City after college and held an adjunct professor position at the International Center of Photography from 2001-2013. He now lives and works in Asheville, NC and teaches workshops throughout the Southeast. Benjamin's photographs have been exhibited at Museum of Fine Arts, Houston, TX, School of International Center of Photography, NYC, NY, American Academy of Arts & Letters, NYC, NY, Ogden Museum of Southern Art, New Orleans, LA, Griffin Museum, Boston, MA, Florida Museum of Photographic Arts, Tampa, FL, Center for Fine Art Photography, Ft. Collins, CO and Midtown Y Photography Gallery, NYC, NY. In November, 2019, his work will be included in a three person climate change exhibit at Southeast Museum of Photography in Daytona Beach, FL. His work is represented by Clayton Galleries in Tampa, FL and is in the collection of the Museum of Fine Arts, Houston, the American Academy of Arts and Letters, the Florida Museum of Photographic Arts and Eckerd College among many others. Ain't Bad, Architectural Digest, Black & White, Don't Take Pictures, Lenscratch, Oxford American, Orion, Photo District News, The New Yorker Photo Booth and others have featured Benjamin's photographs. He was a finalist in Photolucida's Critical Mass Award in 2014, 2017 and 2018 and in New Orleans Photo Alliance's Clarence John Laughlin Award in 2014 and 2015. An Unflinching Look The Chassahowitzka National Wildlife Refuge is a very fragile, spring-fed estuary on Florida's Gulf Coast, north of Tampa. I was overwhelmed by its lush, primeval beauty on my first visit over 30 years ago and have photographed there extensively since 2004. The dense palm hammocks and hardwood forests were festooned with ferns and orchids and the fresh water creeks were a clear azure. There are other similar estuaries nearby but the Chassahowitzka River and the surrounding wetlands are protected as part of the federal National Wildlife Refuge system and the river itself is designated as an Outstanding Florida Water. Unfortunately, saltwater began creeping up into the spring creeks around 2011. Rising sea levels due to climate change are the primary cause. However, the saltwater intrusion was accelerated when the state water commissioners, appointed by climate change denier and former governor Rick Scott, determined that the wetlands could survive with less fresh water. This new minimum flow policy would allow the state to increase the pumping of fresh water for large-scale inland developments and agricultural interests. The drawdown of fresh water for these lobbyists has taken fresh water away from the aquifer that feeds Chassahowitzka's springs and many others nearby. As the fresh water flow in the estuaries decreased, saltwater advanced upstream and took its place. What had been verdant, semi-tropical forest is now mostly an open plain of grasses relieved by palms and dying hardwood trees. Sabal palms are the most salt tolerant trees in this ecosystem and are the last to expire. This is a widespread phenomenon, occurring all along the Big Bend section of the Gulf coast of Florida. In 2014, I began to photograph in the salt-damaged sawgrass savannas and spring creeks there as a way of reckoning with the ecosystem loss and of understanding what has become of my native Florida. I have narrowed my focus to a small, remote area that I know and love. My intention in bearing witness to this loss has been to portray the ruined landscape with respect, nuance and beauty. To document the progress of the saltwater intrusion, I have re-photographed landscapes that I first photographed as much as 30 years ago. This ruin is the fate of estuaries around the world as sea levels rise. With increasingly fierce storms and extensive flooding along coastal areas, we are reminded that climate change is a certainty and a priority.
Shawn Theodore
Shawn Theodore
United States
1970
Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo Arts Center, Rush Arts Gallery (2017, 2018), and the University of the Arts (2019). His commercial projects include works for Apple, Showtime Networks, RocNation, PAPER Magazine, New York Magazine, Smithsonian Magazine, The Atlantic, The New York Times, PDN and others. Theodore was awarded the prestigious PDN’s 30 New & Emerging Photographers to Watch (2019), the Getty Images / ARRAY ‘Where We Stand’ (2018) grant and a grant from the Knight Foundation for ‘A Dream Deferred’ (2018). He is a two-time nominee of The Pew Center for Arts & Heritage Fellowship, and a nominee of the Magnum Foundation Fund. Theodore earned his BA in JPRA (Journalism, Public Relations and Advertising) from Temple University. He currently attends the MFA for Photography program at Savannah College of Art and Design (SCAD Atlanta). Theodore is a current trustee of the Rush Philanthropic Arts Foundation and the Philadelphia Photo Arts Center. Source: www.shawntheodo.re
Kathryn Oliver
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
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Latest Interviews

Exclusive Interview with Matthew Finley
Interview
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
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Exclusive Interview with Jan Janssen
Interview
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.
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Exclusive Interview with Henk Kosche
Interview
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.
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Exclusive Interview with Anastasia Samoylova
Interview
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.
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Exclusive Interview with Marijn Fidder
Interview
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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Exclusive Interview with Josh S. Rose
Interview
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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