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Keiichi Tahara
Keiichi Tahara
Keiichi Tahara

Keiichi Tahara

Country: Japan
Birth: 1951 | Death: 2017

Tahara was born in Kyoto. He learned photographic techniques at an early age from his grandfather, a professional photographer.

In 1972, he travelled Europe with Red Buddha Theatre as a lighting and visual technician. While in France, he encountered a sharp, harsh and piercing light that he had never experienced in Japan. Since then, he remained in Paris for next 30 years and started his career as a photographer.

His first series of work "Ville (City)" (1973-1976) captured the unique light in Paris in black-and-white photography. His next series of work "Fenêtre (Windows)" (1973-1980) awarded the best new photographer by Arles International Photography Festival in 1977 and he moved into the limelight.The following year, he started the new series "Portrait" (1978), then "Eclat" (1979-1983) and "Polaroid" (1984) and received number of awards such as Ihei Kimura award (1985).

His morphological approach to light has extended to sculpture, installations, and other various method crossing over the genre of photography. In 1993, in moat of the Castle of Angers (1993), the first light sculpture in France, "Fighting the Dragon" (1993) was installed.

"Garden of Light" (Eniwa, Hokkaido, 1989) is a representative piece in which light sculptures are installed in a public space covered in snow for six months of the year. The light changes in response to music and presents a space of poetic dimensions. Based on the same concept, "Échos du Lumières" (2000) was installed in the Canal Saint-Martin, commissioned as a public space project by the City of Paris. The spectacle colors from the prisms illuminate the stone wall synchronizing with the sounds.

The rest of his work include a permanent outdoor installation "Niwa (Garden)" (2001) at the Photography Museum in Paris (Maison Européenne de la Photographie), "Portail de Lumière", an installation created as a part of the cultural project Lille 2004, and " Light Sculpture" exhibition at Tokyo Metropolitan Teien Art Museum in 2004.

In 2008, Tahara lead the project of building Ginza 888, with the artistic direction of the Museum of Islamic Art. A photography book was published.

He continued to produce a number of light installation projects in urban spaces. He died on 6 June 2017.

Source: Wikipedia



When did you realize you wanted to be a photographer?
It was 1972 when I am 21 years old

Where did you study photography? With whom?
From my grand father

Do you have a mentor or role model?
Trace of light. Moholy-Nagy / Man-Ray

How long have you been a photographer?
40 years

Do you remember your first shot? What was it?
Yes, when I was 6 years old took the picture of garden of our family house

What or who inspires you?
So many artists which I met in my life

How could you describe your style?
Trace of light.

Do you have a favorite photograph or series?
Serie de Eclat 1979-1983

Do you spend a lot of time editing your images? For what purpose?
Light/Observation/Notation

what mistake should a young photographer avoid?
Do not afraid mistake, mistake make a art

An idea, a sentence, a project you would like to share?
1970

What are your projects?
1970
 

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More Great Photographers To Discover

Miina Savolainen
Miina Savolainen is a community art oriented photographer and an art and social educator from Helsinki whose works deal social engagement. Alongside her artistic work she explores, teaches and develops the use of photography as a pedagogic and therapeutic method. Her work has resulted in the method of empowering photography. Miina Savolainen, her project The Loveliest Girl In The World and the method of empowering photography have received several awards in Finland. Miina Savolainen is a member of The Finnish Phototherapy Association and The Union of Artist Photographers.Besides The Loveliest Girl in the World, Miina Savolainen is an instructor in a communal art project concerning fatherhood. For two years now, a group of amateur photographers have been preparing an exhibition on the theme of fatherhood to Helsinki Jugendhall for autumn 2007, using the method of empowering photography. 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The pictures are a proof of conclusiveness of the photograph, which is not only bound to what’s visible. The Loveliest Girl in the World doesn't portray the Children's home residents the way the people living in margins are usually portrayed. The pictures are also something else from the sexist way of how young women and girls are exhibited in today's public places. Above all the fairy-tale feeling of the pictures is metaphorical; it is a longing for a clean, innocent state of dreaming where you can see yourself as a whole and an ideal person, protected from the gaze and the expectations of other people. The series brings up questions on how the present visual culture makes one a part of the society. The pictures of the young in the Children's home tell stories of being a girl and being a human in general. The deepest content of the pictures, the need to be seen, is familiar to anyone. The attempt to learn to see oneself in a more gentle way is especially addressing in our time where people are surrounded by the endless requirements from different fields of life. The Loveliest Girl in the World exhibitions have prompted the public to think about the capacity of the photograph to influence on societal and personal levels. From the point of view of photography the project also raises questions about the author and ethics. This project could be seen as community photography. It includes the models not only in the creation of the photographs but also in the selection of the exhibited pictures.The project, its accompanying exhibition and Miina Savolainen has been awarded the Spotlight of the Year 2003 special prize of the jury, the Vision of the Year award 2004, Duodecim Finnish Medical Association’s 2005 Cultural Award, the Young Photographer of the Year award 2005 and the State Award for Children´s Culture 2006. Patricia Seppälä Foundation, the Finnish Cultural Foundation, Finnfoto and the City of Helsinki have supported the production.
Deb Schwedhelm
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René Groebli
Switzerland
1927
René Groebli (born October 9, 1927 in Zurich) is an exhibiting and published Swiss industrial and advertising photographer, expert in dye transfer and colour lithography. He grew up in the Enge district of the city of Zurich, where he attended the Langzeitgymnasium. After two years, he moved to the Oberrealschule, a science-oriented grammar school, but broke off this education after two years to begin an apprenticeship as a photographer with Theo Vonow in Zurich in 1944. When his teacher moved back to Graubünden, Groebli entered the preparatory course of the Zurich School of Applied Arts, attending from the spring of 1945. Subsequently, he enrolled in the renowned professional class for photography under the direction of Hans Finsler and Alfred Willimann until the summer of 1946. Amongst his fellow students were Ernst Scheidegger and Anita Nietz. In September 1946 Groebli began training as a documentary cameraman at Central Film and Gloria Film Zürich, graduating in late 1948 with a diploma, though he did not subsequently practice as a cinematographer. In 1947 he won third prize in a competition run by the monthly magazine Camera with his series Karussell. Freelancing for Victor-N. Cohen agency in Zurich, in 1948 Groebli made his first trip to Paris and in 1949 bought his first Leica. From 1949 Groebli worked as a photojournalist and carried out assignments for the Züri-Woche, and later in Africa and the Middle East for the London agency Black Star. The pictures were published in the magazines Life and Picture Post. His first small folio Magie der Schiene ('Rail magic') comprising 16 photographs (with front and back cover) was also shot in 1949 and self-published later the same year. It captures the ‘magic’ of steam train travel during the late 1940s. Despite being young and relatively unknown, Groebli was able to borrow enough money to finance the high-quality printing. Technically it is a portfolio rather than a book, with pages unbound and laid in loose, inspired by the Man Ray and Paul Éluard publication FACILE (1935) which he purchased on his first trip to Paris in 1948. Photographed with a Rolleiflex 6×6 and a Leica 35mm camera in and around Paris, as well as locations in Switzerland, the often motion-blurred and grainy images convey the energy of steam. An obi-band with German text was produced for the approximately 30 to 40 original preorders, and other copies sold without. He held his first solo exhibition with photographs from the book. He spent three months in Paris where he met Brassaï and Robert Frank and spent a month in London. On October 13, 1951 he and Rita Dürmüller (1923-2013) were married. A second slim picture book Das Auge der Liebe ('The Eye of Love'), self-published in 1954 through his business “Turnus”, was created in collaboration with his wife Rita Groebli. This small book, though respected for its design and photography, caused some controversy, but also brought Groebli attention. It was assembled from shots made on the belated honeymoon that the photographer and his wife Rita took over two weeks in Paris in 1952 and in the following year for a few days to Marseille, though publication of the photographs was not planned in 1953 Groebli sequenced it for a book, introducing a blank page to stand in for daytime in its chronology. In the Swiss Photorundschau, published by the Swiss Photographic Association, the editor Hermann König traded correspondence with a specialist teacher of the School of Applied Arts where the book had been passed around and argued over, the term "love" in the title being considered by students to be too sentimental given the obvious sexual connotations. Where the photographer’s intention was for a romantic effect, the editor admitted that the narrative was sexualized. In the leading periodical Neue Zürcher Zeitunghe, editor Edwin Arnet objected to the emphasis on nudity. Groebli sequenced his photographs to tell the story of a woman meeting a man in a cheap hotel. The last photograph shows the woman's hand with a wedding ring on her ring finger holding an almost finished post-coitus cigarette. In the perception of audiences of the era, the implication was that the woman had to be either an ‘easy woman’, a prostitute, or an unfaithful wife. However the U.S. Camera Annual review of the work in 1955 pronounced it "a tender photo-essay on a photographer’s love for a woman.” After the death of photojournalist Paul Senn in 1953 and the killing of Werner Bischof in Peru in 1954, Kurt Blum, Robert Frank and René Groebli were newly admitted to the Kollegium Schweizerischer Photographen. A major exhibition organized by the 'Kollegium' in 1955 convinced critics that a new "Swiss style" that was indeed moving towards Photography as Expression as the exhibition was titled, and the end of critical (later dubbed 'concerned') photography. However, the association was soon disbanded because of disagreements between Gotthard Schuh and Jakob Tuggener, and Groebli had by then relinquished photojournalism. In the same year, and with four other Swiss photographers, Werner Bischof, Robert Frank, Gotthard Schuh and Sabine Weiss, René Groebli was represented with a picture in the exhibition The Family of Man curated by Edward Steichen for the Museum of Modern Art in New York. His available-light photo shows a tight crowd of excited, dancing teenagers, their movement blurred in the style of Magie der Schiene. Groebli launched his own studio for commercial industrial and advertising photography in 1955 in the newly built residential and studio building in Zurich-Wollishofen. At the end of the 1950s, Groebli also had his home and studio converted and enlarged and in addition to two studios and two black and white labs, a dye transfer workshop with several laboratory workstations was added. In 1963 Groebli founded the limited partnership Groebli + Guler with lithographer Walter Guler, renamed 'Fotolithos' in 1968. The workplace in Zurich-Wollishofen was equipped with the latest and best technical facilities and through the 1960s and early 1970s the business employed a staff of up to twelve, with good profits made from servicing the advertising photography industry. After ten years producing specialist colour photography, dye transfer production and colour lithographs for commercial advertising and industrial photography, in 1965 Groebli published his third photo book Variation through Arthur Niggli Verlag, Teufen. It presented a retrospective of possibilities of Groebli’s colour photography, though with scant mention of the role of his many employees and business partners. In 1971 he issued a second edition Variation 2, with updated information on colour technology including Cibachrome. By the late 1970s, with the more widespread adoption and acceptance of chromogenic methods of colour production less technically demanding and cheaper than dye transfer, Groebli ceased commercial photography and colour production, sold his home and studio and retired, though he still maintained connections with the industry and presented a paper on dye transfer at the 1977 Rencontres d'Arles. Groebli returned to making personal photographic essays in colour and in black and white, in series titled Fantasies, Ireland, The Shell, Burned Trees, N. Y. Visions, New York Melancholia and Nudes. Over the decades of the turn of the century, he worked on his image archive and digitized the most important photographs that he had taken over a career of sixty years. Groebli currently resides in Switzerland.Source: Wikipedia
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
Raymond Depardon
Raymond Depardon, born in France in 1942, began taking photographs on his family farm in Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left for Paris in 1958. He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the Gamma agency, reporting from all over the world. From 1974 to 1977, as a photographer and film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad. Alongside his photographic career, he began to make documentary films: 1974, Une Partie de Campagne and San Clemente. In 1978 Depardon joined Magnum and continued his reportage work until the publication of Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came out and stayed on the programme of a cinema in the Latin Quarter for seven months. In 1984 he took part in the DATAR project on the French countryside. While still pursuing his film-making career, he received the Grand Prix National de la Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the French justice system, received a César Award for best documentary, and in 1998 he undertook the first in a series of three films devoted to the French rural world. The Maison Européenne de la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his work on French justice was shown as part of the official selection at the Cannes Film Festival in 2004. As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and 2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d'Arles. He is working on a photographic project on French territory which is due to be completed in 2010. He has made eighteen feature-length films and published forty-seven books. Source: Magnum Photos Raymond Depardon (born 6 July 1942 in Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. Depardon is for the most part a self-taught photographer, as he began taking pictures on his family's farm when he was 12. He apprenticed with a photographer-optician in Villefranche-sur-Saône before he moved to Paris in 1958. He began his career as a photojournalist in the early 1960s. He travelled to conflict zones including Algeria, Vietnam, Biafra and Chad. In 1966, Depardon co-founded the photojournalism agency Gamma, and he became its director in 1974. In 1973 he became Gamma’s director. From 1975 to 1977 Depardon traveled in Chad and received a Pulitzer Prize in 1977. The next year he left Gamma to become a Magnum associate, then a full member in 1979. In the 1990s, Depardon went back to his parents’ farm to photograph rural landscapes in color, and then in 1996 published a black-and-white road journal, In Africa. In May 2012, he took the official portrait of French President François Hollande. Source: Wikipedia
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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.
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.
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.
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry