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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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Chad Cowan
Chad Cowan
Chad Cowan

Chad Cowan

Country: United States
Birth: 1984

Chad Cowan is a photographer and aspiring filmmaker who has been chasing storms across America's Tornado Alley over the past 10 years and 200,000 miles. His goal is to capture the awe inspiring beauty of nature in the most extreme and violent weather on earth. Cowan's current film project for which he is seeking financing and distribution is a collection of timelapses of these supercells shot in 8k resolution.

Growing up in Kansas, the epicenter of severe weather on the planet, he quickly became obsessed with thunderstorms. Inspired by a few timely weather-related gifts from his grandfather at a young age, Cowan decided he wanted to chase them once he had his driver's license.

Cowan's photos have been published around the globe and his work has appeared in major motion pictures, and on most national news outlets. In 2010, his 'Icemaker' photo of the supercell that dropped the largest hailstone ever recorded on earth came in second place in a National Geographic photo contest.

He has a BS in Economics from Kansas State University

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Inspiring Portfolios

Anna Biret
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Svetlin Yosifov
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Shinji Ichikawa
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More Great Photographers To Discover

Aindreas Scholz
Aindreas Scholz
Ireland/Germany
1981
I’m Aindreas Scholz, a photographer and educator based in London, UK, working with analogue and cameraless photographic processes. Growing up between Ireland and Germany in a bilingual family shaped how I think about place, belonging, and the environments we move through. My practice is slow and material-led, often collaborating with sunlight, polluted seawater, acidic rain, and vulnerable plant specimens to make images that hold traces of ecological change and deep time. Artist Statement: I make images with and within vulnerable landscapes, letting natural elements co-author the final print. I’m interested in care, responsibility, and the uneven ways climate change is lived. I want the work to feel intimate, like evidence that asks for attention rather than spectacle. AAP Magazine AAP Magazine 54 Nature
Charles Marville
Charles Marville
France
1813 | † 1879
Charles Marville, the pseudonym of Charles François Bossu (Paris 17 July 1813 - 1 June 1879 Paris), was a French photographer, who mainly photographed architecture, landscapes and the urban environment. He used both paper and glass negatives. He is most well known for taking pictures of ancient Parisian quarters before they were destroyed and rebuilt under "Haussmannization", Baron Haussmann's new plan for modernization of Paris. In 1862, he was named official photographer of Paris. Marville's past was largely a mystery until Sarah Kennel of the National Gallery of Art and independent researcher Daniel Catan discovered that Marville's given name was Charles-François Bossu. That newly-found association allowed them to discover a variety of biographical information, including photographs of his family, that had been considered lost to time. Bossu was born in 1813 in Paris. Coming from an "established" Paris family, he trained as a painter, illustrator and engraver. He assumed the pseudonym Charles Marville around 1832, and began working in his field. After 17 years, as an illustrator, he took up photography around 1850. He had no family, but a long-time companion was included in his will. He died in 1879 in Paris.Source: Wikipedia Charles Marville was commissioned by the city of Paris to document both the picturesque, medieval streets of old Paris and the broad boulevards and grand public structures that Baron Georges-Eugène Haussmann built in their place for Emperor Napoleon III. Marville achieved moderate success as an illustrator of books and magazines early in his career. It was not until 1850 that he shifted course and took up photography - a medium that had been introduced just 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city - especially its monuments, churches, bridges, and gardens - that provided the artist with his greatest and most enduring source of inspiration. By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as the official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city’s oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city’s desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization. Haussmann not only redrew the map of Paris, he transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture, kiosks, Morris columns for posting advertisements, pissoirs, garden gates, and, above all, some twenty thousand gas lamps. By the time he stepped down as prefect in 1870, Paris was no longer a place where residents dared to go out at night only if accompanied by armed men carrying lanterns. Taken as a whole, Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.Source: Howard Greenberg Gallery
Sol Hill
Sol Hill
United States
1971
Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
Penelope James
Penelope James
United States
1974
I have lived many lives. A girl. A woman. A mother. A friend. A traveler. A believer. A creator and so many more. These lives have interwoven and diverged, twisted and tangled more times than I can count, but they've ultimately intersected into who I am today. As the journey unfolded, a camera fell into my hands and a passion was unleashed. My work shows you the world, perhaps, not as it is, but as I see it through the lens of my many lives and the passion that resides behind the camera. Statement These self portraits were created out of an abundance of nervous energy that demanded an outlet. Each photo is a visual representation of the very deep and powerful emotions that were provoked during the insidious year of 2020, and each photo also represents the release of that emotion as the process was completed. Never before had I experienced the therapeutic effects of creating art as I did during that time. There was not a specific theme in mind when creating these. In fact, there was not even a plan to have more than one. But time and circumstances demanded the energy be released and eventually the theme became clear: A hope to fly away. To escape. To be free.
Johan Gerrits
Johan Gerrits
Netherlands
1962
Though we travel the world over to find the beautiful, we must carry it with us or we find it not - Ralph Waldo Emerson I was born in the east of the Netherlands, a green countryside full of nature. My interest for nature was one of the reasons to start 25 years ago with photography. Since then subjects changed from nature, architecture, art into people. Especially the last one takes a big role in my travelphotography. Two of my great passions in life are photography and travelling. I believe that travel broadens one's view of the world, makes you more tolerant, and reflects on our way of living and thinking. Experiencing other cultures, rituals and customs, enrichen your knowledge and deeper understanding of the world around you. By documenting these unique cultures, in which some of them are vanishing very fast. I hope that my work has a merit in preserving their beautiful and cultural diversity. In my photography I try to reveal a person's character, his spirit, his way of showing himself to the world. In doing this I respect their culture, habits and religion as much as possible. I'm not a professional photographer, just an amateur who likes to photograph the beauty of mankind.
Consuelo Kanaga
Consuelo Kanaga
United States
1894 | † 1978
Consuelo Kanaga (born Consuelo Delesseps Kanaga) was an American photographer and writer who became well known for her photographs of African-Americans. She is one of the pioneers of modern American photography, began her career as a photojournalist in 1915 in San Francisco. In the 1920s, Alfred Stieglitz inspired her to develop a more aesthetic approach, and a trip to Europe in 1928 awakened her lifelong preoccupation with European modernist painting and the ways in which that work was influenced by the sculpture of Africa. Kanaga successfully combined a Pictorialist aesthetic with a realist strategy, producing handsomely composed and carefully printed images. She was one of few white American photographers in the 1930s to make artistic portraits of African Americans.Source: The Brooklyn Museum Kanaga was born on May 25, 1894 in Astoria, Oregon, the second child of Amos Ream Kanaga and Mathilda Carolina Hartwig. Her father was a successful lawyer and judge in Ohio. After moving to Astoria he became the district attorney for the city, and he also traveled widely, often leaving his family behind with little notice. After they moved to California in 1915 her mother became a real estate broker, a highly unusual occupation for a woman at that time. The last name "Kanaga" is of Swiss origin, and a family genealogy traces its roots back at least 250 years. She spelled her first name "Consuela," at least in the 1920s and '30s, but it is generally listed now as Consuelo, a more common Spanish name. Her middle name "Delesseps" is said to have come from her mother's admiration for Ferdinand de Lesseps, the French diplomat and developer of the Suez Canal. In 1911 the family moved from Oregon to Larkspur in Marin County, California. In 1915 Kanaga got a job as a reporter, feature writer and part-time photographer for the San Francisco Chronicle. Dorothea Lange later said that Kanaga was the first female newspaper photographer she had ever encountered. It was there that she discovered Alfred Stieglitz's journal Camera Work and decided to become a photographer. Lange encouraged her to take up photography as a career and introduced her to the growing San Francisco Bay Area community of artistic photographers, notably Anne Brigman, Edward Weston, Francis Bruguière, and Louise Dahl-Wolf. In 1919 she married mining engineer Evans Davidson, but they separated within two years. In 1922 she moved to New York in order to work as a photojournalist for the New York American newspaper. While in New York a co-worker at the newspaper, Donald Litchfield, introduced her to Alfred Stieglitz. Stieglitz worked with Kanaga to help transform her vision from photojournalism to a more artistic photographic style. By March 1923 she was living with Litchfield, although at the time she had not yet divorced Davidson. In 1924 she and Litchfield moved to California, living at times near Santa Cruz, San Francisco and Los Angeles. By the end of the year she had finalized divorce proceedings against Davidson, and she became engaged to Litchfield. The engagement lasted only six months, however, and by the end of the year they were no longer a couple. In 1926 she met Tina Modotti, who was visiting San Francisco, and she put together a small exhibition of Modotti's photographs at the Kanaga Studio on Post Street. Aided by art patron Albert Bender, she began planning a prolonged "tour" of Europe, and in 1927 she spent the latter part of the year traveling and photographing in France, Germany, Hungary and Italy. While there she met up with Dahl, and the two of them spent many weeks traveling together. While traveling to Tunisia in January 1928, she met James Barry McCarthy, an Irish writer and ex-pilot, and by March they were married. In May they returned to New York City and took up residence there. Kanaga initially found work as a photographic retoucher, but within a few months she had her own darkroom and was printing the first of her many photos from Europe. In 1930 she and McCarthy moved to San Francisco, and soon she was re-established in the photographic community there. In 1931 she met and began to employ African-American Eluard Luchell McDaniels, a young "man-of-all-trades" who worked for her as a handyman and chauffeur. She began to photograph him around her home, and as they talked she became captivated by the plight of African-Americans and their continuing fight against racism. Soon she was devoting much of her photography to images of African-Americans, their homes and their culture. In 1932 she was invited by Weston and Ansel Adams to participate in the famous Group f/64 show at the M.H. de Young Museum, and she showed four prints. There is some confusion about whether Kanaga should actually be called a "member" of Group f/64. The announcement for the show at the de Young Museum listed seven photographers in Group f/64 and said "From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are: Preston Holder, Consuela Kanaga, Alma Lavenson, Brett Weston." However, in 1934 the group posted a notice in Camera Craft magazine that said "The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cunningham, Consuela Kanaga and several others." In an interview later in her life, Kanaga herself said "I was in that f/64 show with Edward Weston, Imogen Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger." In 1935 she moved back to New York without McCarthy, and the two apparently were divorced sometime that year. She began plans for a portfolio of African Americans and interviewed several families in Harlem with whom she hoped to live while documenting their lives. While there she encountered painter Wallace Putnam, whom she had met the last time she lived in New York. Within three months they were married. They spent part of their honeymoon visiting Alfred Stieglitz at his home at Lake George. In 1938 she joined the Photo League, where she lectured a new generation of artistic photographers and became the leader of the Documentary Group projects, including Neighborhoods of New York. Her photographs were printed in progressive publications of the time, including New Masses, Labor Defender, and Sunday Worker. By 1940 she found teaching too restrictive, and she returned to taking photographs full time. She was actively photographing and exhibiting throughout the 1940s, 50s and 60s. In the latter decade she became very active in civil rights, and she took part in and photographed many demonstrations and marches. In 1963 she was arrested in Albany, Georgia during the Walk for Peace. She finally seemed to have found the right romantic and creative partner in Putnam, and the two of them remained together for the rest of her life. They traveled frequently and spent the last half of the 1960s going back and forth to France. A review published in New York Times described that "She continued to work into her 70s, despite suffering from emphysema and cancer, which were probably caused by the chemicals used in creating her prints. Her body of work, though comparatively small, is consistently exceptional. Consuelo Kanaga died virtually unknown on February 28, 1978, but her talent endures." Her entire estate amounted to $1,345 in photographic equipment, almost 2,500 negatives and 375 prints. Everything else she had given away to friends.Source: Wikipedia
Linda Hollinger
Linda Hollinger
United States
1960
I am a fine art photographer living and working in Philadelphia Pennsylvania. After receiving a degree in design and illustration I traded in my paints and brushes for film and the camera. My most recent project has been photographing the remote areas of Mexico and Latin America. I find the most interesting, intriguing places are off the beaten path and thus seldom visited by outsiders. I strive to find the magic and poetry that exists in everyday life, a harmony between magic and culture.
Stuart Franklin
Stuart Franklin
United Kingdom
1956
Stuart Franklin is a British photographer. He is a member of Magnum Photos and was its President from 2006 to 2009. Franklin was born on June 16 1956 at Guys Hospital in London. He studied drawing under Leonard McComb in Oxford and Whitechapel, London, and from 1976 to 1979 photography at West Surrey College of Art and Design, where he graduated with a BA. Moreover, between 1995 and 1997, he studied geography at the University of Oxford, first receiving a BA and the Gibbs Prize for geography. He received a doctorate in Geography from the University of Oxford in 2000. Stuart Franklin was awarded a professorship in documentary photography in 2016. He teaches photography and visual storytelling at Volda University College, Norway. From 1980 until 1985, Franklin worked with Sygma in Paris. During that time he photographed the civil war in Lebanon, unemployment in Britain, famine in Sudan and the Heysel Stadium disaster. Joining Magnum Photos in 1985, he became a full member in 1989. In the same year, Franklin photographed the uprising in Tiananmen Square and shot one of the Tank Man photographs, first published in TIME Magazine, as well as widely documenting the uprising in Beijing earning him a World Press Photo Award. In 1989 Franklin traveled with Greenpeace to Antarctica. He worked on about twenty stories for National Geographic between 1991 and 2009, subjects including Inca conqueror Francisco Pizarro and the hydro-struggle in Quebec and places such as Buenos Aires and Malaysia. In addition, he worked on book and cultural projects. In October 2008, his book Footprint: Our Landscape in Flux was published by Thames & Hudson. An ominous photographic document of Europe’s changing landscape, it highlights Franklin's ecological concern. During 2009 Franklin curated an exhibition on Gaza - Point of No Return for the Noorderlicht Photo Festival. Since 2009 he has focused on a long-term landscape project in Norway published as Narcissus in 2013. More recently he has worked on documentary projects on doctors working in Syria, and immigration in Calais. Franklin's most recent book, The Documentary Impulse was published by Phaidon in April 2016. It investigates the nature of truth in reporting and the drive towards self-representation beginning 50,000 years ago with cave art through to the various iterations and impulses that have guided documentary photography along its differing tracks for nearly 200 years. Franklin was the general chair of the World Press Photo jury 2017.Source: Wikipedia How Stuart Franklin took his Tank Man photograph In our book, The Documentary Impulse, the acclaimed photographer Stuart Franklin explores the human drive behind documentary photography, whether it's the passion to record the moments we experience, or the need to bear witness to forces that we want to change. The second of those two drives spurred Franklin in the summer of 1989, when he shot Tank Man, the unnamed, and to-this-day still unknown pro-democracy protestor who stood in the way of the Chinese army’s tanks, as they tried to clear Tiananmen Square. Franklin's film was smuggled out of Beijing to Magnum's Paris office by a French student in a box of tea, and, following its development and distribution, his picture moved world leaders across the globe, including the then US president George H W Bush. Here’s how he got that photograph. “I remember lying prone on a balcony on the sixth floor of the Beijing Hotel with the Newsweek photographer Charlie Cole, photographing the event around noon on 4 June,” Franklin recalls. “Earlier that day Tiananmen Square had been cleared by the Chinese Army. However, a group of civilians lined up to face a double row of soldiers who themselves stood in firing positions in front of a column of tanks. These civilians were shot at repeatedly, leaving at least twenty casualties. As the bodies were carried away the standoff died down and a column of tanks broke through, moving slowly eastwards. Waiting for them a few hundred metres down the road was a man in a white shirt and dark trousers, carrying two shopping bags. Alone he blocked the path of the tanks, watched by groups of nervous bystanders and perhaps fifty journalists, camera crews and photographers on balconies on almost every floor of the hotel." Franklin captured the most widely distributed image of the event. Yet, after the taking the shot, he wasn’t convinced of the image’s power. “On the balcony after the event, which lasted less than three minutes, a conversation ensued with a writer for Vanity Fair, T.D. Allman. Allman insisted on the significance of the spectacle,” Franklin writes. “I recalled images from 1968 in Prague and Bratislava where protesters stood up bare-chested against Russian tanks, and similar accounts from China during the Japanese invasion. Tank man felt very distant by comparison." Thankfully, once his film was out of the country, the world looked favourably on the photograph. “My rolls of film were smuggled out of China the following day packed in a small box of tea and carried to Paris by a French student,” he recalls. “The transparencies were later processed, duplicated and distributed from Magnum’s office in Paris." “Images and reports of the tank man incident emerged slowly. The first the world saw of the tank man was on television on 5 June. Television drew the world’s attention to the incident. George Bush Senior referenced it after watching CNN. ‘I was very moved today’, Bush said at a news conference on the morning of 5 June, ‘by the bravery of that one young individual that stood alone in front of the tanks, rolling down the avenue there.’”Source: Phaidon
Rodney Smith
Rodney Smith
United States
1947 | † 2016
Rodney Smith was a New York-based fashion and portrait photographer. Smith primarily photographed with a 35mm Leica M4 before he transitioned to a 120/6x6 (medium format) Hasselblad with an 80mm lens. He preferred natural light to illuminate his subjects, but occasionally used continuous lighting. Smith shot predominantly in black and white, until 2002, when he first began to experiment with color film. His work is commonly referred to as classic, minimalistic, and whimsical. Rodney Smith was born December 24, 1947 in Manhattan, New York. His father, Sanford Smith, was president of fashion industry giant. Smith recalls, "A sense of style, a sense of proportion and a sense of beauty and a sense of grace – all of those things were very important in my upbringing." After he studied English Literature and Religious Studies at University of Virginia in 1970, Smith went for his graduate degree in Theology at Yale University in 1973. Smith said in an interview with Kodak, "I absolutely knew I wanted to be a photographer, but I didn't feel that studying in an art school or a photography department full time was the way to address the issues that were interesting to me – so I sort of entwined the two." While at Yale, he also studied under photographer, Walker Evans. In 1976 Mr. Smith spent 100 days photographing the people of the Holy Land, in Jerusalem. From the 88 Rolls of film shot, Smith ended up compiling two portfolios, which later became his first book: In the Land of the Light: Israel, a Portrait of Its People (1983). Published by Houghton Mifflin Company in Israel. After returning from Jerusalem, Smith spent a short time as an adjunct professor of photography at Yale University. As Smith continued his career into the nineties he slowly shifted from corporate executives to fashion photography. "My feelings about photography are exactly the same today as when I was 20. That is, I have a love/hate relationship with making pictures." Looking at pictures is one thing, he qualifies, "But making pictures – making pictures for me is hard, hard work." Rodney Smith's work has been featured in The Wall Street Journal to Martha Stewart, from Time to Bloomingdales. In addition to his work as a photographer, Smith lectured and gave workshops. Rodney Smith lived and worked in New York City, with his wife, Leslie Smolan, and daughter, Savannah, and son Jonah Smith. His wife, Leslie, is co-founder of graphic design and branding firm, Carbone Smolan Agency. He is currently represented by a number of galleries both in the US and internationally; acte2galerie of Paris, France, The PhotoGallery AB of Halmstad, Sweden, FOST Gallery of Singapore, Fahey Klein Gallery of Los Angeles, California, Galerie Greenwich of Greenwich, Connecticut, Galerie Sono of Norwalk, Connecticut, Gilman Contemporary of Ketchum, Idaho, and Staley-Wise Gallery of New York, New York. In the past 25 years, Smith received 50+ awards including First Prize for his book The End from International Photography Awards (IPA). He has also received several Communication Arts and Photo District News (PDN) awards. Smith died in his sleep on December 5, 2016 at the age of 68.Source: Wikipedia
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AAP Magazine #56 Shadows
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Latest Interviews

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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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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