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Rebecca Moseman
Rebecca Moseman
Rebecca Moseman

Rebecca Moseman

Country: United States
Birth: 1975

Virginia native Rebecca Moseman received her Bachelor of Fine Arts from Virginia Polytechnic Institute in 1997 and her Master of Fine Arts from Rochester Institute of Technology in 2001. She has worked in academia, private industry, and Government as an instructor, consultant, and graphic designer and does freelance work in photography and publishing. Her work has been exhibited throughout the US and abroad and has been featured in Resource, DodHo, SHOTS, P3 Publico, and GUP Magazine.


Artist Statement
"My photography is a process of observation and a visceral response to my life, my experiences, and the world around me. It is at times a reflection of the emotional lives of my children or people I've encountered, sometimes a commentary on human behavior; other times it is a revelation of my own inner state. My photography represents a raw need to express visually what is often difficult to express in words." -- Rebecca Moseman

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Website

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More Great Photographers To Discover

Hemad Nazari
Hemad Nazari
Iran
1989
Hemad Nazari studied civil engineering but all he wants to do is take photographs. He considers himself a semi professional photographer and a semi professional civil enginieer too. He was raised in Rasht, Iran. Artist Statement These people live in mountain in small village with 15 houses, but in winter just 3 of these families (7 people) stay there to protect the sheep and supply the food for them in snow and cold winter. These families can go to near small town to buy their requirements but when snow is to heavy they should be there to feed the sheep and protect them from wolfs and other wild animals. The village is in north of Iran, on the old way of Asalem-Khalkhal road.
Armineh Johannes
Armineh Johannes
United States/France
I was born in Tehran, Iran and studied in England where I obtained a Journalism Diploma, and later in France, where I obtained a B.A. in History and a B.A in English. I started my photography career in 1986 with my first assigned in the Atlas Mountains in Morocco. My work has been mainly on the Middle East and ex- Soviet Union countries. I started working on various assignments in Armenia since 1989 and continue to do so up to this day. In 1989, a year after the earthquake in Armenia, I went there for the first time. I am Armenian born and raised in Iran. Setting foot on the land of my ancestors for the first time brought great emotion for me. Since that first trip to Armenia and the deep connection I felt with the people and the land, I have continued to make regular trips to all corners of Armenia and Artsakh, depicting the lives of my fellow Armenians. In 1989-1990, I made my first trip to Artsakh (Nagorno-Karabakh) and photographed the first Nagorno-Karabakh conflict; I was one of the few photojournalists who managed to travel to the village of Getashen and the villages of the Shahumyan/Shahoumyan region (northern Artsakh) just before Operation Ring in 1991. I continued to travel across Armenia for decades and my humanitarian photo stories have been widely published in magazines and newspapers around the world, such as Los Angeles Times (USA), Washington Post, Newsweek, Le Monde, Peuples du Monde, Libération, L 'Express, Révolution (France), Photo Reporter, France - USSR, UN Multimedia, Foto Pratica (Italy), l'Autre Journal, Marie Claire (Italy), Pop Eye (Japan), Asahi Graph (Japan), Asahi Magazine ( Japan), AIM (USA), Photography (England), etc. In 1997 I decided to go to Armenia and stay there for one year in order to have a more profound understanding of their lifestyle and customs. That period was one of the most enriching and interesting experiences of my life… During the past thirty years I has been documenting the life of Armenians in Armenia, in Karabagh as well as in the Middle East and around the world. I held several exhibitions in France in Portugal and in the United States. In 1990, the prestigious French Newspaper “Le Monde” organized a solo photo exhibition of my work in its halls in Paris. I currently work as a freelance documentary photo-journalist but also collaborate with “Les Nouvelles d’Armenie Magazine”, an Armenian magazine published in France. I am working on having a photo book published of my work on Armenia and Artsakh (Karabagh). I started travelling to Armenia since 1989. I am of Armenian origin (born in Iran) and have continued to travel there on regular basis depicting the lives of Armenians. I travelled to Artsakh (H. Karabagh) several times starting in 1990 and covered the first conflict with Azerbaijan which ended in 1994. During my travels to Artsakh I also photographed moments of their daily lives.
Buck Holzemer
Buck Holzemer
United States
Buck Holzemer's photography career began at the young age of eight when he climbed onto a garage roof to capture images of his friends playing basketball below. This experience sparked a lifelong fascination with the magic little window of the camera. After an multi-year detour to study the unseen world through physics and mathematics, he returned to the “magic little window” in his late twenties and began a career in photography and soon expanded into filmmaking. Throughout his career, Buck has received numerous accolades, including the prestigious Clio award for television commercials, recognition in the Communication Arts Photography Annual, awards from Print magazine, and the Grand Prize for fine art work from PDN magazine. In 2013, he won a Best of Show award from the International Photography Awards, and in 2019, he received the People's Choice Award from National Geographic. Buck's versatility as an image maker is evident in his work across various photographic genres and his filmmaking projects in Minneapolis, Los Angeles, New York, Milan, and Guatemala. For the past decade, he has collaborated with producer Patti Petrich to create media for Common Hope, a St. Paul based non-profit organization that supports education for children in Guatemala. Through this partnership, he has produced numerous videos and portraits of over 800 Guatemalan children. In recent years, Buck has dedicated his time primarily to personal photographic projects. Awarded Photographer of the Week - Week 05
Erhan Coral
Erhan Coral
Turkey
I was born in Istanbul in 1966 and followed a career path that first led me into engineering and later into business. After studying electrical engineering, I earned an MBA in the United States and went on to spend nearly three decades in the financial sector—both as an executive and a business owner. Photography has been a lifelong passion, first sparked in my teenage years. About a decade ago, I decided to return to it with greater intention, and since then it has become a defining part of my life. I now work professionally, focusing on street, travel, and documentary photography—capturing authentic moments that reveal the soul of people and places. Over the years, my work has been recognized and awarded in numerous international photography competitions. These honors have been both humbling and motivating, pushing me to continue telling visual stories with honesty and depth. Through my lens, I seek out the quiet poetry of the everyday, and the subtle human narratives that often go unseen. Artist statement: I focus on street, travel, and documentary photography that reveals the quiet poetry of everyday life. My work is rooted in observation—capturing fleeting moments, subtle gestures, and the human presence within layered environments. I’m drawn to unscripted scenes that speak to shared experiences across cultures. Through a candid and respectful approach, I aim to create images that resonate with honesty, depth, and a sense of timelessness.
Tina Modotti
Tina Modotti
Italy / United States
1896 | † 1942
With her camera, Tina Modotti presents a distinctive vision of 1920s Mexico. As a Hollywood actress turned Comintern agent, Modotti used photography as an artistic and political outlet. Born​ in Udine,Italy,​ ​Modotti emigrated to San Fransico at the age of sixteen. She quickly established herself as a successful actress and modeled for notable photographers including Jane Reece and Edward Weston. The latter became her lover and artistic mentor. In 1923, Weston and Modotti set up a successful portrait studio in Mexico City. While there, Modotti moved within avant-garde circles, befriending Frida Kahlo and Diego Rivera. It was during this period in Mexico that she developed her passion for both photography and politics; this culminated in a solo exhibition at the National Library in 1929 which emphasized the revolutionary quality of her work. A year later Modotti was exiled from Mexico because of anti-communist sentiments and in 1931 she set aside a promising career in photography to devote herself entirely to political activism. She worked as a Comintern agent until her death in 1942. Although her life and photographic style are often linked with Edward Westo​n, her political engagement and the eye for composition she harnessed to express it are her own. Calla Lilies (1925) represents a cool appraisal of natural beauty and shows Modotti’s interest in formalism, something she shared with Weston, as she emphasizes the stark lighting, the near symmetry, and the tactile presence of the flowers. In Workers Parade (1926), however, while Modotti’s skill in formal composition is still evident, as the lighting and angle emphasize the repeated pattern of the hats, this dramatic view of a May Day parade in Mexico City reveals Modotti’s Communist sympathies and her ambition to use photography to promote political change.Source: Hundred Heroines Tina Modotti was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother, Assunta, was a seamstress; her father, Giuseppe, was a mason. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California. Attracted to the performing arts supported by the Italian émigré community in the San Francisco Bay Area, Modotti experimented with acting. She appeared in several plays, operas, and silent movies in the late 1910s and early 1920s, and also worked as an artist's model. In 1917, she met Roubaix "Robo" de l'Abrie Richey. Originally a farm boy from Oregon named Ruby Ritchie, the artist and poet assumed the more bohemian name Roubaix. In 1918, Modotti began a romantic relationship with him and moved with him to Los Angeles to pursue a career in the motion picture industry. Although the couple cohabited and lived as a "married couple", they were not married. She was listed as a U.S. citizen in the 1920 Los Angeles township census. Often playing the femme fatale, Modotti's movie career culminated in the 1920 film The Tiger's Coat. She had minor parts in two other films. The couple entered into a bohemian circle of friends. One of these fellow bohemians was Ricardo Gómez Robelo. Another was the photographer, Edward Weston. As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston's lover. Ricardo Gómez Robelo became the head of Mexico's Ministry of Education's Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio. Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston's, hoping to mount an exhibition of his and Weston's work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo's vision realized, she mounted a two-week exhibition of Robo's and Weston's work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their youngest three children. She agreed to run Weston's studio free of charge in return for his mentoring her in photography. Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital's bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera's murals at the Secretariat of Public Education in Mexico City. Modotti's visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston's son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston. In 1925, Modotti joined International Red Aid, a Communist organization. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali. Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party's Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses. Mexican photographer Manuel Álvarez Bravo divided Modotti's career as a photographer into two distinct categories: "Romantic" and "Revolutionary", with the former period including her time spent as Weston's darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as "The First Revolutionary Photographic Exhibition In Mexico". As a result of the anti-communist campaign by the Mexican government, Modotti was exiled from Mexico in 1930. She first spent several months in Berlin, followed by several years in Moscow. Traveling on a restricted visa that mandated her final destination as Italy, Modotti initially stopped in Berlin and from there visited Switzerland. The Italian government made concerted efforts to extradite her as a subversive national, but with the assistance of International Red Aid activists, she evaded detention by the fascist police. She apparently intended to make her way into Italy to join the anti-fascist resistance there. In response to the deteriorating political situation in Germany and her own exhausted resources, however, she followed the advice of Vittorio Vidali and moved to Moscow in 1931. After 1931, Modotti no longer photographed. Reports of later photographs are unsubstantiated. During the next few years she engaged in various missions on behalf of the Workers International Relief organizations as a Comintern agent in Europe. When the Spanish Civil War erupted in 1936, Vidali (then known as "Comandante Carlos") and Modotti (using the pseudonym "Maria") left Moscow for Spain, where they stayed and worked until 1939. She worked with Canadian Dr. Norman Bethune during the disastrous retreat from Málaga in 1937. In 1939, following the collapse of the Republican movement in Spain, Modotti left Spain with Vidali and returned to Mexico under a pseudonym. In 1942, at the age of 45, Modotti died from heart failure while on her way home in a taxi from a dinner at Hannes Meyer's home in Mexico City, under what are viewed by some as suspicious circumstances. After hearing about her death, Diego Rivera suggested that Vidali had orchestrated it. Modotti may have "known too much" about Vidali's activities in Spain, which included a rumoured 400 executions. An autopsy showed that she died of natural causes, namely congestive heart failure. Her grave is located within the vast Panteón de Dolores in Mexico City. Source: Wikipedia
Han Yang
Han Yang
China
Han Yang is a London-based visual artist, photographer, and creative director whose work explores identity, femininity, and the intersections of gender, creativity, and technology. Drawing from her Chinese heritage, Han weaves together abstract compositions, surreal elements, and philosophical symbolism to craft emotionally charged images that challenge conventional narratives. She graduated with distinction from the MA Fashion Photography program at the University of the Arts London and was a PhD researcher in Digital Humanities at King’s College London. Her work has been featured in Vogue Italia, Harper’s Bazaar, Vanity Fair UK, and exhibited internationally, including at Christie’s London and Zebra One Gallery. Han is a recipient of multiple awards, including the Eve Arnold Photography First Prize and the Nikon Cup. Artist Statement: My work is a visual inquiry into identity in flux—queer, digital, and evolving. I seek to document and reimagine the boundaries of the human form, merging fashion, portraiture, and poetic symbolism. Drawing from posthuman theory, I use both analogue and digital techniques to explore the liminal spaces between body and technology, visibility and erasure, vulnerability and transformation. Through stylised yet intimate visuals, I aim to amplify narratives from marginalised communities and offer new imaginaries for gender, beauty, and self-expression.
Sascha Ali
Sascha Ali
Trinidad and Tobago
1984
My name is Sascha Ali and I'm a Trinidadian born photographer currently living and working in New York City. I majored in Film Studies at Kingston University in London, and it was during this period that I developed a fondness for photography. When I returned to Trinidad I worked for various news outlets and government companies as a video editor and photographer. I tried my hand at producing and editing several short and feature length films before deciding that life didn't appeal to me. It was around this time in 2018 that I moved to New York City, where I immediately fell in love with street and documentary photography. I was particularly attracted to Harry Gruyaert's color work. I committed to the art, and in 2022 I did a workshop with Alex Webb and Rebecca Norris Webb that helped me to focus more seriously on the direction I wanted to take my photography in. My most recent photos focusing on the community of Jackson Heights have become my first major photography project. I've also begun work on a long term documentary project based in Trinidad and Tobago. I currently supplement my street work with freelance jobs for the United Nations. Jackson Heights: Shadow and Light
Artur Nikodem
Artur Nikodem
Austria
1870 | † 1940
Artur Nikodem (1870-1940) was born in Trent, Austria. As a young man, Nikodem studied at the Academy of Fine Arts in Munich, Milan and Florence. He then served in the Austrian Navy before settling briefly in Paris, where he was strongly influenced by the works of Monet and Cezanne. Awestruck by the ability of pigment to rearrange and restructure life on canvas, Nikodem began his endeavors as a painter. His burgeoning artistic career was delayed by military service during World War I. After the war, Nikodem returned to his home in Innsbruck where he began work as a freelance artist. He agreed to test cameras and film for a friend who sold photographic supplies, privately pursuing this means of artistic expression. The modest size and intimate subject matter of these photographs provides a window into the artist's life and mind. After a series of successful international exhibitions, Nikodem emerged as a spokesman for Tyrolean artists. As Nikodem grew older, the changing political climate resulted in his paintings being outlawed in Germany and part of the collection in Nuremberg was destroyed. Unable to secure a teaching position at the Viennese Academy, Nikodem withdrew from public life and lived in seclusion with his wife, Barbara Hoyer, until his death in 1940. Nikodem's photographs were not exhibited or discussed outside of the studio until after his death. Although he worked as a painter for the bulk of his artistic career, he was also a prolific photographer, documenting the small towns and pastoral beauty of the Austrian countryside as well as the women in his life. Nikodem captures these women, his models and lovers, including Gunda Wiese - who died of tuberculosis - and his wife Barbara Hoyer. These sensual portraits portray the erotic tension between the older artist and his much younger subjects. Artur Nikodem's portraits have invited comparison to the paintings of Egon Schiele and the series of photographs by Alfred Stieglitz of Georgia O'Keefe, similarly characterized by both playful experimentation and somber meditation. Source: Robert Mann Gallery
Inna Piskun
Inna Piskun
Ukraine
1974
Inna Piskun, born in 1974 and residing in the city of Dniepr, has pursued a unique journey that blends practical skills with artistic passions. She holds two degrees: one in economic cybernetics and another in landscape design. Despite her professional background, Inna has always yearned to express herself through art. Her creative journey was often interrupted by challenging periods, sometimes due to external circumstances, and other times to personal circumstances. Life required practical endeavors, but her desire to engage in art never faded. It wasn’t until she was 35 that Inna began her foray into photography. Equipped with an old Canon 5D, a Hasselblad 501, and a Polaroid SX-70, she captures moments through both digital and analog formats. At home, she has created a small studio space, just 16 square meters, where most of her photographic work takes place. Her subjects are often her friends and family, with her daughter frequently stepping in as a model. Through her photography, Inna Piskun has developed a distinctive style, characterized by intimate and thoughtful portraits. Despite the small scale of her studio and equipment, her work reflects an authentic connection to her subjects, exploring the subtleties of human emotion and the beauty of everyday life. Photography has become a profound outlet for her, allowing her to engage in the art she had long aspired to create. Statement: I am taking a series of portraits of people who have not left since the very beginning of the war. They understand that being with the Motherland in difficult times is real patriotism. Awarded Photographer of the Week - Week 40
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