All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Jens Juul
Jens Juul
Jens Juul

Jens Juul

Country: Denmark

My name is Jens Juul, and I'm a photographer. I'm trained as both photographer and portrait painter and have also done graphic design for years. I recently won the portraiture category in The Sony World Photography Awards with my series Six Degrees.

About my way of working with photography: Strong impressions form the motive power of my work. Behind a strong impression always lies an interesting and often untold story. Of course the strong impressions can be seen on the news, where we daily watch pictures from global hot spots or places hit by sudden disasters. These pictures any photographer can chase in competition with other photographers with access to the same news channels. But apart from the spectacular and crisis hit places I actually believe that strong impressions can be found around all of us. My morning bike ride to take my children to school is often cause of great inspiration. The story is right on your doorstep. It is just a matter of seeing it and of really seeing the people who are part of the tapestry of your daily life, and then of finding your angle and the courage to step across the boundary between yourself and other people formed by each person¹s privacy sphere even to those strangers who may at times seem dangerous and intimidating. of Copenhagen.

About Six Degrees of Copenhagen: My photo series Six Degrees of Copenhagen is a textbook example of breaking this boundary. The way I work is that I approach someone I don't know, be it on the street, in a supermarket or at a social event. I ask if I can portray them in their homes and then I pay them a visit. The visit usually lasts a couple of hours or however long it takes to break the ice and get just the right shot of the subject. I then ask them to pass the torch so to speak and recommend someone in their own network that I can portray in the same way. I got the idea from the theory of six degrees of separation - the notion that all people on Earth are connected in the sixth degree. There is nothing scientific about my work, though, and I'm not trying to show the extent of human networks. It is a way of working that magically enables me to travel through a city and meeting its inhabitants. I've come across all walks of life, old and young, and I have seen many different ways of life. If you meet people without prejudice and with a lot of curiosity it really is amazing how willing they are to share their experiences and the insights they've gained. In that way my work is a journey into the minds and lives of other people.

About Inmates: A third project I am working on is a book project about being an inmate in a prison. The Inmate project takes its point of departure in a profound curiosity regarding the consequences of being punished with long-term imprisonment to someone's life. The project focuses on the life conditions of long-term inmates in Danish prisons. What do inmates think about their own lives, their relationships with people both inside and out of prison, and what kinds of hopes and expectations do they have about the future? The project will be using a combination of interviews, portraits and picture documentation of the everyday life in Danish prisons to tell the story of inmates. The aim is to publish a book with ten interviews and approximately 75 pictures. I'm looking into crowd funding possibilities, and am also considering making an electronic version that would keep production costs down and provide a possibility of layering information. Through the Danish Prison and Probation Service I have been granted access to the Danish prisons. In some prisons I have only been allowed to take pictures of architectural details. In other prisons I have been escorted around by prison employees, who have opened and locked doors for me, and walked me through the different parts of the prison. In yet other places I have been permitted to move around freely, and take all the pictures I wanted, as long as I got permission from the inmates first. In total I have been granted a much higher degree of access than I had ever dreamt of when I made the first phone call in order to get into prison. But why on Earth, one might ask, am I giving criminals that have harmed fellow human beings a chance to express themselves? And why would I offer them to have their portraits and pictures of their everyday life grace the pages of a book, and even do so in a book looking all luxurious with big pictures? The answer is simple, really: Because their voices to a large extent are missing in the public debate. There are black holes, so to speak, in the public's map when it comes to the realities and consequences of incarceration. What is it like? Really? In Denmark, imprisonment is largely seen as punishment, but with an agenda of offering possibilities for resocialization, and only severely hardened or mentally ill inmates have little prospect of ever getting out. However, reality is that resocialization is difficult, even in a social-liberal welfare state like Denmark. The question then is: if prison breeds more criminals, how does society benefit from locking people away? It is my ambition to start a public debate about the relationship between justice, punishment, revenge and resocialization that will hopefully engage both the public and the politicians. Each year, so many families live with the consequences of crime. Children of criminals and victims alike are growing up with the effects of crime and punishment. So we'd better make it count! And to return to the relationship to our personal networks and the use of them, my work inside the prison walls has shown me that much crime is committed by individuals whose networks have been insufficiently present. A lack of care and love early in life, but also a lack of engagement from the personal circle of acquaintances. Instead of stepping in when people are in trouble, we turn our heads away to avoid becoming a part of the problem. A lot of human misery could be avoided if only we dared to get involved and show some interest in the lives of our fellow human beings!

Awards:
2013 Winner of the Sony World Photography Awards 2013 in the portraiture category
2013 Finalist in KL International Photoawards 2013 in the Portrait Category.
2013 Selected for a Spotlight Award in the Black & White Portfolio Contest 2013
2013 4th place for the Su-ture 1st Edition by Gomma, 2013
 

Inspiring Portfolios

Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Joel Bernstein
United States
1952
Joel Bernstein is a photographer, guitarist, and record producer based in Oakland, California. His photographs have appeared as the album covers to, among others, After the Gold Rush, 4 Way Street, Rita Coolidge, Wind on the Water, Running on Empty, CSN, Bob Dylan at Budokan, Rust Never Sleeps, Shadows and Light, and Hard Promises. His photographs have been published in Time, The New York Times, and Rolling Stone, among other publications, and there have been retrospective exhibits of his work in New York City, San Francisco, Los Angeles, and London. As a guitarist, he is most noted for support work to his friends David Crosby and Graham Nash, both individually and on their Crosby & Nash records. He has acted as co-producer and archivist with Nash for Crosby, Stills, Nash & Young, and is responsible with Nash for the compilation and production of the box sets Voyage for Crosby, Reflections for Nash, Carry On for Stephen Stills, and CSNY 1974 for the band's tour of that year.Source: Wikipedia Joel Bernstein is an acclaimed rock photos photographer whose work, spanning four decades, chronicles the inner lives and public moments of some of the most important singer-songwriters, performers and musicians of our time. They include Joni Mitchell, Neil Young, Bob Dylan, Bruce Springsteen, David Crosby, Stephen Stills, Graham Nash, Prince, Jackson Browne, Laura Nyro, Tom Petty and many others. Bernstein also became a close friend and musical collaborator with many of his other subjects, playing and singing on their albums and concert tours. But his most important work remains his up-close-and-personal photographs of these singular artists. His preferred method has been to spend as much time as possible with his subjects until the right instant–the perfect moment of intimacy–reveals itself. Bernstein’s many album covers are commonly listed among the most influential in rock's visual history. His first, at age 18, was Neil Young's After the Gold Rush, often cited in Best Album Covers Of All Time lists. His work was featured in the album cover for Joni Mitchell's Hejira, nominated for a Grammy Award for Best Album Cover. Bernstein’s work was also the inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. In 2018, Bernstein received a Distinguished Lifetime Achievement Award by the International Photography Hall of Fame.Source: Morrison Hotel Gallery Bernstein's work is well known within the world of music, and is included in the permanent collection of the Rock & Roll Hall of Fame and Museum. His work was a key inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. His many album covers are commonly listed among the most influential in rock's visual history. He has been published in a wide spectrum of books on music, musicians, and the music business, as well as in Time, The New York Times and Rolling Stone. He was profiled in MOJO, the esteemed British music publication, which extensively featured his photos of Neil Young. Bernstein maintains that his unique perspective on these artists is the result of spending so much time with them that he was there to observe and capture those unique “perfect moments of intimacy” when they revealed themselves, not by some preconceived set-up. He is currently based in Oakland, California.Source: San Francisco Art Exchange
Debbie Fleming Caffery
United States
1948
Debbie Fleming Caffery grew up along the Bayou Teche in southwest Louisiana and still lives in the area. Early on in her career, she was inspired by the work of Dorothea Lange and many of the artists working within the FSA and Federal Arts Project of the WPA during the Depression. Like these forbears, she is interested in telling stories with her pictures, but unlike those earlier photographers, her work is as much artful as it is documentary. Her rich, and dramatic prints are the result of the deep relationships with the people and places she photographs, a visual corollary to the reverence she has for her subjects. Caffery has photographed the sugarcane industry and its community in Louisiana since the late 1970s. She has also photographed in rural villages in Mexico for many years, creating works that draw connections between those communities and the ones in Louisiana that were so familiar to her from her own upbringing. In 2005, Caffery was the recipient of a Guggenheim Fellowship for the work she made of women working in brothels in Mexico. In 2006, she received the Katrina Media Fellowship from the Open Society Foundations to continue to photograph the aftermath of Hurricane Katrina. Recently Caffery received a commission from the High Museum in Atlanta for their Picturing the South photography initiative. Her monographs include: Carry Me Home (Smithsonian, 1990), The Shadows (Twin Palms Press, 2002) and Polly (Twin Palms Press, 2004), The Spirit & The Flesh (Radius Books, 2009) and Alphabet (Fall Line Press, 2015). Source: Gitterman Gallery
Yousuf Karsh
Canada
1908 | † 2002
Yousuf Karsh is the most renowned portrait photographer of our time. He has perceptively photographed the statesmen, artists, and literary and scientific figures that have shaped our lives in the 20th century. Known for his ability to transform "the human face into legend," many of the portraits that he created have become virtually the image of the great man or woman they portray, whether Winston Churchill, Ernest Hemingway, Albert Einstein, Georgia O'Keefe or Helen Keller. In other words, "to experience a Karsh photograph is to feel in the presence of history itself." His photographs are in major private and public collections throughout the world, the Museum of Fine Arts in Boston holding the largest collection in the US.Source: Weston Gallery Yousuf Karsh was an Armenian-Canadian photographer and one of the most famous and accomplished portrait photographers of all time. ousuf or Josuf (his given Armenian name was Hovsep)[citation needed] Karsh was born in Mardin, a city in the eastern Ottoman Empire (present Turkey). He grew up during the Armenian Genocide where he wrote, "I saw relatives massacred; my sister died of starvation as we were driven from village to village." At the age of 16, his parents sent Yousuf to live with his uncle George Nakash, a photographer in Sherbrooke, Quebec, Canada. Karsh briefly attended school there and assisted in his uncle’s studio. Nakash saw great potential in his nephew and in 1928 arranged for Karsh to apprentice with portrait photographer John Garo in Boston, Massachusetts, United States. His brother, Malak Karsh, was also a photographer famous for the image of logs floating down the river on the Canadian one dollar bill. Karsh returned to Canada four years later, eager to make his mark. In 1931 he started working with another photographer, John Powls, in his studio on the second floor of the Hardy Arcade at 130 Sparks Street in Ottawa, Ontario, close to Parliament Hill. When Powls retired in 1933, Karsh took over the studio. Karsh's first solo exhibition was in 1936 in the Drawing Room of the Château Laurier hotel. He moved his studio into the hotel in 1973, and it remained there until he retired in 1992. Canadian Prime Minister Mackenzie King discovered Karsh and arranged introductions with visiting dignitaries for portrait sittings. Karsh's work attracted the attention of varied celebrities, but his place in history was sealed on 30 December 1941 when he photographed Winston Churchill, after Churchill gave a speech to Canadian House of Commons in Ottawa. The image of Churchill brought Karsh international prominence and is claimed to be the most reproduced photographic portrait in history. In 1967, he was made an Officer of the Order of Canada and in 1990 was promoted to Companion. Of the 100 most notable people of the century, named by the International Who's Who [2000], Karsh had photographed 51. Karsh was also the only Canadian to make the list. Karsh was a master of studio lights. One of Karsh's distinctive practices was lighting the subject's hands separately. He photographed many of the great and celebrated personalities of his generation. Throughout most of his career he used the 8×10 bellows Calumet (1997.0319) camera, made circa 1940 in Chicago. Journalist George Perry wrote in the British paper The Sunday Timesthat "when the famous start thinking of immortality, they call for Karsh of Ottawa." Karsh had a gift for capturing the essence of his subject in the instant of his portrait. As Karsh wrote of his own work in Karsh Portfolio in 1967, "Within every man and woman a secret is hidden, and as a photographer, it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize." Karsh said "My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble." His work is in permanent collections of the National Gallery of Canada, New York's Museum of Modern Art and Metropolitan Museum of Art, George Eastman House International Museum of Photography and Film, Bibliothèque Nationale de France, the National Portrait Gallery in London, the National Portrait Gallery of Australia and many others. Library and Archives Canada holds his complete collection, including negatives, prints and documents. His photographic equipment was donated to the Canada Science and Technology Museum in Ottawa. Karsh published 15 books of his photographs, which include brief descriptions of the sessions, during which he would ask questions and talk with his subjects to relax them as he composed the portrait. Some famous subjects photographed by Karsh were Field Marshal Lord Alanbrooke, Muhammad Ali, Marian Anderson, W. H. Auden, Joan Baez, Zulfiqar Ali Bhutto, Humphrey Bogart, Alexander Calder, Pablo Casals, Fidel Castro, Madame Chiang Kai-Shek, Joan Crawford, Ruth Draper, Albert Einstein, Dwight Eisenhower, Princess Elizabeth, Robert Frost, Clark Gable, Indira Gandhi, Grey Owl, Ernest Hemingway, Audrey Hepburn, Pope John Paul II, Chuck Jones, Carl Jung, Helen Keller and Polly Thompson, Grace Kelly, Jacqueline Kennedy, John F. Kennedy, Peter Lorre, Pandit Nehru, Georgia O'Keeffe, Laurence Olivier, General Pershing, Pablo Picasso, Pope Pius XII, Prince Rainier of Monaco, Paul Robeson, the rock band Rush, Albert Schweitzer, George Bernard Shaw, Jean Sibelius, Pierre Elliott Trudeau, Andy Warhol, Frank Lloyd Wright, and, arguably his most famous portrait subject, Winston Churchill. The story is often told of how Karsh created his famous portrait of Churchill during the early years of World War II. Churchill, the British prime minister, had just addressed the Canadian Parliament and Karsh was there to record one of the century's great leaders. "He was in no mood for portraiture and two minutes were all that he would allow me as he passed from the House of Commons chamber to an anteroom," Karsh wrote in Faces of Our Time. "Two niggardly minutes in which I must try to put on film a man who had already written or inspired a library of books, baffled all his biographers, filled the world with his fame, and me, on this occasion, with dread." Churchill marched into the room scowling, "regarding my camera as he might regard the German enemy." His expression suited Karsh perfectly, but the cigar stuck between his teeth seemed incompatible with such a solemn and formal occasion. "Instinctively, I removed the cigar. At this the Churchillian scowl deepened, the head was thrust forward belligerently, and the hand placed on the hip in an attitude of anger." The image captured Churchill and the Britain of the time perfectly — defiant and unconquerable. Churchill later said to him, "You can even make a roaring lion stand still to be photographed." As such, Karsh titled the photograph, The Roaring Lion. However, Karsh's favourite photograph was the one taken immediately after this one where Churchill's mood had lightened considerably and is shown much in the same pose, but smiling. In the late 1990s Karsh moved to Boston and on July 13, 2002, aged 93, he died at Boston's Brigham and Women's Hospital after complications following surgery. He was interred in Notre Dame Cemetery in Ottawa. Source: Wikipedia
John Divola
United States
1949
John Divola is an American contemporary visual artist born in 1949 in Los Angeles, CA. He received a B.A. from California State University, Northridge in 1971 and later received an M.F.A. from the University of California, Los Angeles in 1974. He has held residencies at many institutions including the California Institute of the Arts. He has held the position of Professor in the art department at the University of California Riverside since 1988. His work has been featured in many solo exhibitions across the United States, Europe, Japan, and Australia. He participated in 1978, 1989, and 2000 Museum of Modern Art group exhibitions and in the 1981 Whitney Biennial. Divola received awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. In Zuma project, he has described being interested in the relationship between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his series of photographs from 1977, he used deserted houses on Zuma Beach and covered their walls in graffiti. He photographed the ocean from the house's interior through windows and cracks. Divola states: "On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point, I would return to the camera and explore whatever new potentials existed." These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement, and transcendence. "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." Dogs Chasing My Car In The Desert are images of dogs in the desert captured in the midst of running wildly after the car. Emphasizing the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behavior of the dogs suggests a lack of previous stimuli, and loneliness at the same time as an all-consuming reaction to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the Dark Star series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly sinister illuminating our conflicted recent history, updating Zuma and Vandalism for our age of foreclosure. In the As Far As I Can Get project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds. John Divola currently lives and works in Riverside, CA. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific.Source: Wikipedia
Corky Lee
China/United States
1947 | † 2021
Corky Lee, born as Young Kwok Lee on June 3, 1947, in Queens, New York, was a prominent Chinese-American photographer celebrated for his documentary work capturing the Asian American experience. Lee's interest in photography was sparked during his high school years when he stumbled upon a book about photography in a library. He began photographing the Asian American community in New York City, focusing on their daily lives, struggles, and cultural events. Lee's work often centered around the theme of representation and visibility for Asian Americans in mainstream media and American society. He aimed to challenge stereotypes and amplify the voices of Asian Americans through his photography. One of his most famous series is the "Chinatown" collection, which portrays the vibrant life and culture of New York City's Chinatown. Throughout his career, Lee tirelessly documented significant events and milestones within the Asian American community. He became known as the "undisputed unofficial Asian American Photographer Laureate" for his dedication to capturing moments that might otherwise have been overlooked by mainstream media. Lee's photographs were not only a means of documenting history but also served as a form of activism. He used his camera to advocate for social justice and raise awareness about issues affecting Asian Americans, including immigration, discrimination, and cultural identity. In addition to his documentary work, Lee was known for his efforts to honor and celebrate the contributions of Asian Americans to American society. He organized numerous exhibitions, events, and projects aimed at showcasing Asian American culture and history. One of Lee's most iconic photographs is the "Gathering of the Master Photographers" taken in 2003. It features a group of renowned photographers, including himself, gathered in front of the Transcontinental Railroad in Promontory Summit, Utah. This image pays homage to the Chinese railroad workers who played a vital role in building the railroad but were often overlooked in historical narratives. Lee's impact extended far beyond the realm of photography. He was a mentor and inspiration to many aspiring photographers and activists, encouraging them to use their talents to advocate for social change and celebrate their cultural heritage. Sadly, Corky Lee passed away on January 27, 2021, due to complications from COVID-19. However, his legacy lives on through his photographs, which continue to inspire and educate people about the rich and diverse tapestry of Asian American experiences.
Marco Gualazzini
Born in Parma in 1976, Marco Gualazzini began his career as a photographer in 2004, with his home town's local daily, La Gazzetta di Parma. His works include reportage photography on microfinance in India, on the freedom of expression in Myanmar, on the discrimination of minorities in Pakistan. For the last few years he has been covering Africa extensively. He devised and took part in the creation of a documentary for the Italian national TV network RAI on the caste system in India, which has been selected at IDFA- The International Documentary Film Festival Amsterdam, and has been awarded with the Best Camera Work Award at the Aljazeera International Documentary Film Festival 2014. Gualazzini published in national and international titles and he has received numerous accolades, including the Getty Images Grant for Editorial Photography, the PDN and the World Press Photo. Represented by CONTRASTO Agency Resilient is his first book and it's published by ContrastoBooks PUBLICATION: The New York Times, GEO, Al-Jazeera, Paris Match, LIGHTBOX- TIME magazine, Courrier International, L'Express, 6Mois, Internazionale, L'Espresso, InsideOver, CNN, M (Le Monde), Der Spiegel, The Sunday Times Magazine, Newsweek Japan, and Vanity Fair. AWARDS: Nomination award HPA2011- the Humanity photo awards 2011 Finalist CGAP 2011- Microfinance Photograpy contest Short-Listed, premio internacional de fotografia humanitaria Luis ValtueÑa 2011 Short-Listed 3rd Lumix Festival for Young Photojournalism, Hannover 2012 Silver Medal, category press-war, Prix de la Photographie 2013 Premio giornalistico Marco Luchetta- Miran Hrovatin 2013, 1st Prize Getty Images Grants for Editorial Photography Recipient 2013 Short Listed Premio giornalistico Internazionale Marco Luchetta - Miran Hrovatin 2014 Lucie Fondation, Photo Taken Scholarship Recipient 2015 Winner in PDN Photo Annual photo contest 2016 Final 100 to The Other Hundred Educators, The Other Hundred 2016 Photographer of the year All About Photo Awards, 2017 Short Listed - Premio giornalistico Internazionale Marco Luchetta 2017 Wiki Loves Africa, 2nd Prize All About Photo Awards 2019, 4th Prize Wiki Loves Africa, 1st Prize World Press Photo 2019 Photo Contest, Environment, Stories, 1st Prize EXHIBITIONS & SCREENINGS: Palazzo Pigorini, Collettiva sulla città con i fotografi NEOS, Parma, Italy, 2009 Galleria d'arte Camera Sedici, Storie in tre scatti, Milano, Italy, 2010 FoFu Phot'arte, Festival internazionale fotografico, Fucecchio (FI), Italy, 2011 Medicos del Mundo, premio Luis ValtueÑa, Madrid, Spain, 2011 The Humanity photo awards, Memories of Mankind VII, con il patrocinio dell' UNESCO, Beijing, Cina, 2011 3rd Lumix Festival for Young Photojournalism, Hannover, Germany, 2012 Angkor Photo Festival, Angkor, Cambodia, 2013 Les Rencontres d'Arles, Screening, Arles, France, 2013 Visa pour L'image, Screening, Perpignan, France, 2013 'Italy. Another View' Vadehra Art Gallery, India Art Fair, NSIC Exhibition Grounds, New Delhi, India, 2014 One Day in Africa - Spazio Oberdan, Milan, Italy, 2014 "One World" - Photofestival Horizonte, Zingst, Germany, 2014 Angkor Photo Festival, Screening, Angkor, Cambodia, 2015 World Humanitarian Summit, Istanbul, Turkey, 2016 Pune Biennale, Pune, India, 2017 Visa pour l'image, Screening in Campo Santo, Perpignan, France, 2017 Spazio Forma Meravigli, solo exhibition , Milan, Italy, 2019 Palazzo Pigorini, solo exhibition , Parma, Italy, 2019 World Press Photo, World Wide, 2019 RESILIENTI2020 - Installation Art Città di Parma, Parma, 2020
David Seymour (Chim)
United States
1911 | † 1956
David Seymour, also known as Chim, was a Polish-born photographer who is best known for his work as a member of the photographic cooperative Magnum Photos. He was born in 1911 in Warsaw, Poland and spent his early years studying in Germany before moving to France in 1933. Seymour's interest in photography began at a young age, and he quickly became skilled in the art of photography. He began his professional career as a photographer in Paris, working for various newspapers and magazines. In 1936, he joined the photographic cooperative Magnum Photos, which was founded by photographers Robert Capa, Henri Cartier-Bresson, and George Rodger. Chim told me not to follow too closely the advice of Capa, and Capa told me not to take any notice of Henri’s advice. So I was a bit mixed up and went to see George Rodger... and he said, “Don’t listen to any of them, only to me.” -- Marc Riboud, on joining the Magnum photo agency in 1953 As a member of Magnum Photos, David Seymour traveled extensively, capturing powerful images of people and events from around the world. He covered a wide range of subjects, including politics, war, and social issues. He was particularly known for his ability to capture the humanity of his subjects, and his images often conveyed a sense of empathy and compassion. Seymour's work as a war photographer began during World War II, when he covered the Spanish Civil War and the Second World War. He was one of the first photographers to document the horrors of the Holocaust, and his images of concentration camps and Jewish ghettos are among his most powerful and moving works. In 1948, David Seymour traveled to Palestine to cover the Arab-Israeli conflict, and his images of the fighting and the suffering of the Palestinian people helped to raise awareness of the issue around the world. He also covered the Korean War, the Suez Crisis, and the Hungarian Revolution, and his images of these conflicts were widely published in newspapers and magazines. In addition to his work as a war photographer, Seymour also documented social issues and political events. He covered the civil rights movement in the United States, and his images of the struggles of African Americans helped to raise awareness of the issue. He also covered the Cuban Revolution and the rise of Fidel Castro, and his images of the revolution and its aftermath helped to shape the way that the world viewed Cuba and its leader. Seymour's work as a photographer was widely recognized and respected during his lifetime, and he received numerous awards and honors for his contributions to the field of photography. He was a member of the French Legion of Honor, and in 1957 he was awarded the prestigious Robert Capa Gold Medal for his contributions to photojournalism. Despite his success as a photographer, Seymour's life was cut short when he was killed in 1956 while covering the Suez Crisis in Egypt. He was only 45 years old at the time of his death, but his legacy as a photographer lives on through his powerful images and his influence on the field of photojournalism. Today, Seymour's work continues to be widely admired and studied, and his images are considered to be some of the most powerful and important photographs of the 20th century. His work has been featured in numerous exhibitions and publications, and his images continue to inspire and influence photographers around the world. David Seymour Chim was a remarkable photographer who was able to capture the essence of humanity and the complexities of human nature. His photographs are moving and powerful, and his ability to document the world's most significant events and moments in history is a testament to his skill and dedication to his craft. His legacy as a photographer lives on, and his work will continue to be appreciated for generations to come.
Advertisement
AAP Magazine #57 Portrait
Win a Solo Exhibition in May
AAP Magazine #57 Portrait

Latest Interviews

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.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Call for Entries
Win A Solo Exhibition in May
Get International Exposure and Connect with Industry Insiders