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Scott Bourne
Photo © Tracie Maglosky
Scott Bourne
Scott Bourne

Scott Bourne

Country: United States

Scott Bourne is an Olympus Visionary and professional wildlife photographer, author and lecturer who specializes in birds. He's been involved with photography for more than four decades and his work has appeared in more than 200 publications.

He is a pioneer in the digital photography and online space and was named one of the 30 most influential photographers on the Web by Huffington Post.

Scott is also the President of Skylum Software's US and Chinese operations.

In addition to being a trainer on lynda.com and ThinkTapLearn, he's led workshops and seminars, taught for or spoken at conferences or events sponsored by Palm Beach Photographic Center, Cooperative Communicators of America, Apple, The National Association of Photoshop Professionals, CreativeLive.com, the National Association of Broadcasters, North American Music Merchants, MacWorld, Washington Professional Photographers Association, WPPI, PartnerCon, PPA, Seattle Art Center, Marketing Essentials International, The Consumer Electronics Show and Olympic Mountain School of Photography.

Scott was one of the first photographers ever to receive the designation Apple Certified Professional Trainer (T3) for Apple's Aperture. He also previously held the designation Certified Adobe Photoshop Instructor and Professional Photographers of America's Certified Professional Photographer designation.

Scott was recently awarded the designation Signed Master with the Studio Of Masters in China.

Websites

scottbourne.myportfolio.com

skylum.com

 

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More Great Photographers To Discover

Viviane Sassen
Viviane Sassen
Netherlands
1972
Viviane Sassen was born in 1972 in Amsterdam, and lives and works there. She first studied fashion design followed by photography at Hogeschool voor Kunsten Utrecht and fine art at Ateliers Arnhem. Sassen grew up in East Africa and has been taking photographs on the continent since her first return visit in 2002. Selected solo exhibitions have taken place at Forma in Milan (2009) and Foam in Amsterdam (2008). Sassen was one of six artists selected for the annual New Photography exhibition at the Museum of Modern Art, New York, in 2011. Recent group exhibitions include The Encyclopedic Palace at the 55th Venice Biennale (2013); No Fashion, Please! Photography between Gender and Lifestyle at the Vienna Kunsthalle (2011); Figure and Ground: Dynamic Landscape at the Museum of Contemporary Canadian Art in Toronto as part of the Contact Photography Festival (2011); and Six Yards: Guaranteed Dutch Design at the Museum voor Moderne Kunst Arnhem (2012). In 2007 Sassen received the first prize of the Prix de Rome, and in 2011 she won the International Center of Photography Infinity Award for Applied/Fashion/Advertising Photography. Source: www.stevenson.info
Diane Fenster
Diane Fenster
United States
1948
I view myself as an alchemist, using alternative process, toy camera and digital tools to delve into fundamental human conditions and issues. My work is literary and emotional, full of symbolism and multiple layers of meaning with a style that marries photography with evocative and fragmented imagery. I am currently exploring several antiquarian processes including lumen printing and photo-encaustic. My work (exhibited since 1990) first received notice during the era of early experimentations with digital imaging and has appeared in numerous publications. I have been a guest lecturer at many and various seminars and conferences. My work has been internationally exhibited and is part of museum, corporate and private collections. A Long History Of Dark Sleep: Anxiety and insomnia self-portraits during the pandemic of COVID-19 In this time of Covid-19, I sleep alone but fear is my lover. We embrace fretfully and stare at the ceiling. At this late hour, there is no one to call, all the lines are dead and the buses have stopped running. This is my chance to record anxiety, to photograph the noir that surrounds me and find some truth and perhaps beauty in the dead of night. The camera comes to bed with me and a flashlight is my light-source. I have never liked being photographed. A series based on self-portraits could not have happened until this moment in time. Coming face to face with potential death carried on the breeze by an invisible agent has the power to propel me to self-examination in spite of distress. My aim is fretful, the focus unsteady. It's all about chance, isn't it, what the lens captures, who gets the virus.
Rogan Coles
Rogan Coles
South Africa/United Kingdom
1954
I was born in 1954. Photography is what I do. The stories lie therein. In presenting this body of work I want to explore something that is often overlooked - as in the intrinsic value of photography. As one of his mantras, Jack Ma, the founder and now former CEO of Alibaba and a person whose tenacity I admire, said this, "I always look 10 years ahead". While I'm not going to suggested that this is what I do with my photography or when I am about to embark on a project. But and quite often, there's something prescient in what I do and how I approach my work as a photographer. When I set out to document Smithfield Market in London, this is more or less what happened. Besides all the talk of closing down the market, there were suggestions that the market was going to be refurbished and, in the process, brought up to European Union health standards. At around this time, I used to take a short cut through the market's precinct as I walked from one side of the city to the other. Of course, during the day, there was nothing there. Well, let me qualify, there were no people there. Working hours were from just around midnight until the early hours of the morning. With these various stories doing the rounds, I wanted to investigate. In the process I made contact with the market's management. As a result, I was granted to two week window to document the market and the activities there. This was back in April of 1991. Yes, nearly 30 years ago. This is what I mean, the "intrinsic value of photography". I don't know what these images are worth. I have never exhibited them or ever had them published in any form. No real reason. Then as now, perhaps I didn't have a compelling enough story that publications or curators could buy into. "Intrinsic value" is not going to see this work through to anything significant. Perhaps something like "British working class heroes", "End of an era" or "Times are a changing" may have done it. But, we live on in hope. I have long admired photography of Vivien Maier and see her work in much the same way - and that is, for its intrinsic value. Through her work, Maier more or less defined the Chicago of a particular era. Another photographer's work who I much admire is Max Yavno. Again, the strength of his work lies in its intrinsic value. Through his work, he more or less defined Los Angeles and San Francisco of an era and, to some degree, Cairo. His work is iconic - just as is Maier's.
Reginald van de Velde
Reginald van de Velde
Belgium
1975
Reginald Van de Velde (Belgium, 1975) scouts the unknown and the unseen. As a wanderer of wastelands he journeys all over the world, trying to capture the momentum of splendour still undisturbed by the turmoil and temptations of modern society. He is a vagabond for lost beauty, a chronicler of forgotten magnificence. His work has been exhibited internationally in both solo and group expos, including The Art & Science Museum (Singapore), Backlight Photo Festival (Finland), New York Photo Festival (USA), Siena International Photography Festival (Italy), The Somerset House (UK) and the Cannes Lions International Festival (France). His excellence in photography has been awarded numerous times: winner at the Triennial Barbaix Awards for Photography (Belgium), winner at the Grand Prix de la Découverte (France), winner at the Cannes Lions International Festival (France), finalist at the World Photography Awards (UK), finalist at the Siena International Photography Awards (Italy), winner of the Grand Prix at the Seoul International Photography Festival (South-Korea). Selected publications include Esquire Magazine, Wired, Aesthetica Magazine, The Plus Paper, National Geographic, Sabato, F11 Magazine, De Tijd, BBC, Photo Magazine Hong Kong, The World Photography Book and the Beauty in Decay book to name but a few.
Lotta Lemetti
Lotta Lemetti
Finland
1995
Lotta Lemetti is a photographer with a unique vision that embraces the beauty of the simple and mundane. Her minimal aesthetic carries through the diverse work she loves to make and she's not afraid to use alternative processes, mixed media and graphic design in her image making. The native of Finland obtained her Bachelor of Fine Arts in Photography from the NewYork Film Academy, and was also the recipient of the highly prestigious Fulbright undergraduate award in 2015, one of only 3 Finnish winners that year and the only grantee in the field of arts. Her work has since been exhibited in galleries around the world, including New York, Los Angeles, Italy, and Finland. Lotta is constantly sought after by leading artists in her field, and has worked alongside many, including award-winning photographer and visual artist Amanda Rowan, named Chromatic Photographer of the Year 2018 for her achievements in color photography and Photo District News' The Curator Fine Art competition in Still Life in 2019, whose work has been exhibited in Photo LA, and Paris Photo as well as the Wall Street Gallery and the Leica Gallery in Los Angeles, and on display at the Palms with Damien Hirst, Jean-Michel Basquiat, Andy Warhol, and Takashi Murakami, and Photographer/Visual Artist Naomi White, winner of Photo District News' Objects of Desire award and has exhibited throughout North America and Europe, including with Tobey Fine Arts, Christopher Henry Gallery and the Lower Manhattan Cultural Council in New York. In 2018, Lemetti's latest photography series Kekta won the title of Latitude Life APS Photographer of the Year. Kekta was then exhibited in New York and the city of Pravisdomini, Italy. Ms. Lemetti's work has been featured in FAYN Magazine, U+I Magazine, NewBeauty Magazine, PhotoVogue and FLOAT Magazine. Kekta is an exploration of cultural blending and national identity. These photographs originate from her own experience of living between two cultures. She created scenes that are inspired by the immemorial beliefs of unity between humans and nature, and cultural traditions that have been passed on for generations in the form of oral folk tales about Finnish mythology. The stories are hand picked from the Finnish national epic Kalevala, which is a book of poems collected from different regions of Finland and then stitched together into one cohesive story. I took these individual stories and photographed them in a variety of American landscapes, with people from different ethnic backgrounds, creating a new narrative of polycultural identity. Today, we live in a global age, which means that we must reconsider the old ways of thinking about national identity. People are no longer bound by the geographical borders of countries and only a few places on earth can be said to remain monocultural. Bigger metropolis cities are starting to resemble a ‘human mosaic' in which we are moving from multiculturalism, which emphasises the coexistence of different individual cultures to polyculturalism, which indicates the integratedness of the cultures.
Darren Lewey
Darren Lewey
British
1968
Darren Lewey (b. 1968 in Hertfordshire, UK) is a photographer based in Morocco. Photography became his passion at school after which he graduated with a BA in Photographic Studies from Derby College in 1992. Drawn to Morocco as a student, he made careers in teaching and television directing before finally settling there in 2010. Working in projects, his photographs of landscapes and people show a readiness to look for shapes and structures in the former and a quietness of character through his portraits. Focusing on the less spectacular locations, closer to where he lives, Darren is intrigued by offering another photographic vision of the country. One that runs counter to the exotic imagery more usually associated with Morocco. He has been avidly developing personal projects since 2016 alongside running workshops for clients through his teaching site: Creative Camera. His first completed project, Salinity, takes a 'topographic' look at the landscapes of small scale salt production. It's due to be published in late 2021.
Roy Stryker
Roy Stryker
United Kingdom
1893 | † 1975
Roy Emerson Stryker was an American economist, government official, and photographer. He headed the Information Division of the Farm Security Administration (FSA) during the Great Depression, and launched the documentary photography program of the FSA. It hired photographers to travel across the United States and document people in different areas and settings as part of showing the state of people in rural areas in those years. Specific projects were conceived to help assess effects of government programs. He later worked several years on a documentary project for Standard Oil, established the Pittsburgh Photographic Library (PPL), consulted with other companies, and taught photo-journalism at University of Missouri. In his later years he returned to the West, living at last in Colorado. After serving in the infantry in World War I, Stryker went to Columbia University, where he studied economics. He used photography to illustrate his economics texts and lectures. At Columbia, he worked with Rexford Tugwell. When Tugwell became part of Franklin D. Roosevelt's Resettlement Administration, Stryker followed him. Tugwell and Stryker refocused the attention of the Resettlement Administration to document the problems of the heartland, and in 1935 Stryker became the head of the Historical Section (Information Division) of the RA. The RA was renamed as the Farm Security Administration, and Stryker set up the photo-documentary project. Stryker was a manager of the FSA's photographic project. The photographers involved attested to his skill in getting good work from them. He ensure that the photographers were well briefed on their assigned areas before being sent out, and that they were properly funded. However, Stryker has been criticized for his destructive editing, as he would sometimes physically deface negatives by punching holes in them. Stryker also made sure that mainstream publications had access to FSA photographs. This both helped focus public attention on the plight of the rural poor and set up the commercial careers of his photographers. Overall, from 164,000 developed negatives, some 77,000 different finished photographic prints were made for the press, plus 644 color images. Photographers hired by Stryker for the FSA included Dorothea Lange, Arthur Rothstein, Walker Evans, Ben Shahn, John Vachon, Marion Post Wolcott, Russell Lee, Jack Delano, Gordon Parks, John Collier, Carl Mydans, and Edwin and Louise Rosskam. During World War II, the photographic unit of the FSA was reassigned to the Office of War Information. It was used to produce what was essentially propaganda and disbanded after a year. At the same time, the US Congress disbanded the FSA. The holdings of the FSA's photographic unit were transferred to the Library of Congress. Stryker resigned from the government. He worked for Standard Oil in its public relations documentary project from 1943 to 1950, hiring some of the photographers he had worked with at FSA. In selecting photographers for projects at Standard Oil (SO), Stryker sought those who possessed what he described as an "insatiable curiosity, the kind that can get to the core of an assignment, the kind that can comprehend what a truck driver, or a farmer, or a driller or a housewife thinks and feels and translate those thoughts and feelings into pictures that can be similarly comprehended by anyone." Photographers on the SO project included, among others: Berenice Abbott, Gordon Parks and Todd Webb; as well as Esther Bubley, Harold Corsini, Russell Lee, Arnold S. Eagle, Elliott Erwitt and Sol Libsohn, who would later follow Stryker to his next project in Pittsburgh, Pennsylvania. After suggesting topics he wanted to be documented, Stryker gave his photographers the freedom to pursue their individual approaches to their subjects. As with all his projects, Stryker was adamant that his staff understand their subjects and their context before going out on an assignment. From 1950 to 1952, Stryker worked to establish the Pittsburgh Photographic Library (PPL). In 1960, the collection was transferred to the Carnegie Library of Pittsburgh. After leaving the PPL, Stryker directed a documentation project at Jones & Laughlin Steel Corporation. Thereafter, he accepted consulting jobs on occasion and conducted seminars on photo-journalism at the Journalism School of University of Missouri. Stryker eventually returned to the West in the 1960s. He died in Grand Junction, Colorado. The Roy Stryker Papers, including manuscripts, correspondence, and vintage prints from the Stryker-directed projects: Farm Security Administration (FSA), the Standard Oil (New Jersey) Co. and Jones & Laughlin Steel, are held in Photographic Archives, Archives and Special Collections, University of Louisville.Source: Wikipedia
Michel Kharoubi
Michel Kharoubi
France
1963
Award-winning director of institutional films, Michel Kharoubi (MK) has now turned to the still image. He works on the image by privileging another look at the daily life, by extracting from this reality fragments of imagination, pictures with a mysterious aestheticism. Dark City A photographic series on the dramaturgy of the city. A stimulating mosaic that invites us to jump from one moment to another, from one place to another, to embark on pictorial fictions as ephemeral as they are mysterious, to feel the vibrant pulse of the urban world.
Yang Bin
Yang Bin
China
1975
After studying the history of art with a focus on classical painting, Yang Bin, then 31 years old, finally launched himself into photography. Success was rapid and works by this Chinese artist, born in Beijing in 1975, already feature in numerous private collections around the world. Now a photographer, the artist is not ready to renounce his theoretical painting background. Yang Bin composes his photographs like a painter constructs paintings and an artist’s style transforms his models. Source: Yellow Korner
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Latest Interviews

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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Henk Kosche
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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
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Exclusive Interview with Josh S. Rose
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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.
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Interview with Maureen Ruddy Burkhart
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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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