All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
France Leclerc
France Leclerc
France Leclerc

France Leclerc

Country: Canada

France Leclerc, born in Quebec, Canada, is an independent photographer who currently lives in Chicago. Her early career was in academia, teaching at MIT and the University of Chicago, but her true passion for documentary photography has now taken over. The curiosity and hunger for learning that had motivated her academic research career did not vanish. France now uses photography as a vehicle to understand and help depict issues that puzzle her, and satisfy her passion for learning. Among her most prominent themes are culture (especially disappearing ones), religion and social inequality, always focusing on the human element. Her images have now been shown in curated exhibitions and have won numerous awards including PDN World-in-Focus Competition in the Travel Portrait Category (2017), and in the Photo-Essay Category (2018), the APA National in the PhotoJournalism Category (2017), and the Julia Margaret Cameron Award in the Culture and Daily Life Category (2019).

All About Photo Competitions

All About Photo Awards 2019
AAP Magazine #8 Street
AAP Magazine #11 Travels
AAP Magazine #20 Travels
AAP Magazine #29 Women
AAP Magazine #37 Travels
AAP Magazine #52 Street
 

Inspiring Portfolios

Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Herbert List
Germany
1903 | † 1975
Herbert List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was born on 7 October 1903 to a prosperous business family in Hamburg, the son of Luise and Felix List. He attended the Johanneum Gymnasium, and afterwards studied literature 1921–23 at the University of Heidelberg. While still a student he became apprenticed in the family company, Landfried Coffee. In 1923, after two years in Heidelberg learning about the coffee trade and attending lectures at the university on Greek art and literature, List traveled for the family business Kaffee-Import Firma List & Heineken, Hamburg. Between 1925 and 1928 he visited plantations and contacts in Guatemala, Costa Rica, San Salvador, Brazil (where he stayed for six months) and San Francisco. During this time he began taking photographs. In 1929 he met Andreas Feininger who inspired his greater interest in photography and gave him a Rolleiflex camera. From 1930 he began taking portraits of friends and shooting still life; was influenced by the Bauhaus and artists of the surrealist movements, Man Ray, Giorgio De Chirico and Max Ernst; and created a surrealist photograph titled Metaphysique in a style he called fotografia metafisica in homage to De Chirico, his most important influence during this period. List used male models, draped fabric, masks and double-exposures to depict dream states and fantastic imagery. He has explained that his photos were "composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances." While there are surface similarities to Nazi imagery of the athletic male body—that of Leni Riefenstahl for example—unlike them, List's pictures of friends are portraits as much as they are nudes, nor did List endorse Nazi ideas, nor did his work influence National Socialist photography. He never published his male nudes in his own lifetime, and kept them hidden in his mother's house in a sack he called his poison bag". He was however influenced in his depiction of romantic paganism by the Jugendbewegung youth and physical health movement, though he did not join any of its associations, and some of the ideals of the Jugendbewegung were co-opted by the Nazis (though they later denounced the movement) and influenced their idealizing Romantic realism. List in his own notes uses a pun—"Das Objektiv ist nicht objectiv,"—to emphasize his creative, non-realist, application of photography. The lens is not objective. Otherwise photography would be useless as an artistic medium. -- Herbert List In 1936, in response to the danger of Gestapo attention to his openly gay lifestyle and his Jewish heritage, List left Germany for Paris, where he met George Hoyningen-Huene with whom he travelled to Greece, deciding then to become a photographer. In 1937 he worked in a studio in London and held his first one-man show at Galerie du Chasseur d'Images in Paris. Hoyningen-Huene referred him to Harper's Bazaar magazine, and 1936–39 he worked for Arts et Metiers Graphiques, Verve, Vogue, Photographie, and Life. List was unsatisfied with fashion photography. He turned back to still-life imagery, continuing in his fotografia metafisica style. From 1937 to 1939 List traveled in Greece and took photographs of ancient temples, ruins, sculptures, and the landscape for his book Licht über Hellas. In the meantime he supported himself with work for magazines Neue Linie, Die Dame and for the press from 1940 to 1943, and with portraits which he continued to make until 1950. In List's work the revolutionary tactics of surrealist art and a metaphysical staging of irony and reverie had been honed in on the fashion industry that relied on illusion and spectacle which after World War II returned to a classical fixation on ruins, broken male statuary and antiquity. In 1941, during World War II, he was forced to return to Germany; but because one of his grandparents was Jewish he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being of partly Jewish ancestry. He served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Bérard, Georges Braque, Jean Arp, Joan Miró, and others. After the war, he photographed the ruins of Munich where he continued to live until 1960, working mainly for the Swiss magazine Du, with freelance photo essays for Heute, Epoca, Look, Harper's Bazaar, Flair, and Picture Post. He was made art editor of Heute magazine, published by the Allied occupying forces, in 1948. In 1951, List met Robert Capa, who invited him to work as a contributor to Magnum, but he rarely accepted assignments. For the next decade he produced copious work in Italy. During this time he also started using a 35 mm film camera and a telephoto lens. He was influenced by his Magnum colleague Henri Cartier-Bresson as well as the Italian neorealist film movement. In the 1950s he also shot portraits of Marino Marini, Paul Bowles, W. H. Auden, and Marlene Dietrich in 1960. Over the period 1949–62 he visited Italy, Greece, Spain, France, Mexico, and the Caribbean. List's 1950 picture of a woman, her black dress spread about her, reclining at a respectable distance from an elderly man reading, with one leg of his trousers rolled above his socks and garter, both enjoying the spring sunshine on the front steps of the Glyptothek in Munich, was selected by curator Edward Steichen for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors. In 1964 List was awarded the David Octavius Hill Prize of the Gesellschaft Deutscher Lichtbildner. Herbert List is best known for his book Junge Männer (1988) which contains more than seventy images of young men lounging in the sun, wrestling and innocently regarding the camera lens. It is introduced by Stephen Spender in whose autobiographical novel The Temple, written in 1929 but not published until 1988, List is fictionalized as Joachim Lenz. List gave up photography in the early 1960s to concentrate on his collection of Italian Old Master Drawings. He died in Munich on 4 April 1975, and his archive was absorbed in the Ratjen collection which was later acquired by the National Gallery of Art in Washington.Source: Wikipedia
Terri Gold
United States
1955
Terri Gold is a photographer known for her poetic infrared and color imagery of people from the remote corners of the globe. Her ongoing project "Still Points in a Turning World" explores our universal cross-cultural truths: the importance of family, community, ritual and the amazing diversity of its expression. As the timeless past meets the imminent future, indigenous cultures that still follow their traditional way of life are rapidly disappearing. At risk is a vast archive of knowledge and expertise. What is the value of ancient practices? What will be discarded and what will be treasured? If we share our stories and appreciate the mysteries of every realm, we may gain a deeper understanding of that which lies both behind and ahead of us. Her work has garnered many awards, is shown in galleries internationally and published extensively. Recent publications of her work include articles in the BBC Picture Desk, The Huffington Post, aCurator, and Featureshoot. She had a solo show at the Salomon Arts Gallery in New York in 2018. Her work won the Grand Prize in Shadow and Light magazine competition in 2019 and in The Santa Fe Photographic Workshops’ "Diversity" competition. She has received recent awards in the International Photography Awards, Prix de la Photographie, Paris (Px3), Humanity Photo Awards, and the Black and White Spider Awards. She is always happiest with a camera or three in her hands. Statement In the Sahel desert in Chad, the nomadic Wodaabe people spend months apart, searching out pastures for their herds and shelter for the families. When the rains are good, the clans celebrate with an extraordinary courtship ritual and beauty contest called The Gerewol and it's the men who are on parade. The sweltering desert region of Chad seems an unlikely place to be so concerned with beauty yet it is an integral part of the Wodaabe culture. They consider themselves to be the most beautiful people on earth. They display their beauty as a spiritual act, full of dignity and honor. Each person is an artist and they are their art. A living canvas. The intensity rises as they dance all night in their technicolor dreamcoats, a surreal line-dance. Many different arrangements are made at the festival, some for the night, some for a lifetime. All is possible at the Gerewol...
Larry Clark
United States
1943
Lawrence Donald Clark (born January 19, 1943) is an American film director, photographer, writer and film producer who is best known for his controversial teen film Kids (1995) and his photography book Tulsa (1971). His work focuses primarily on youth who casually engage in illegal drug use, underage sex, and violence, and who are part of a specific subculture, such as surfing, punk rock, or skateboarding. Larry Clark was born in Tulsa, Oklahoma. He learned photography at an early age. His mother was an itinerant baby photographer, and he was enlisted in the family business from the age of 13. His father was a traveling sales manager for the Reader Service Bureau, selling books and magazines door-to-door, and was rarely home. In 1959, Clark began injecting amphetamines with his friends. He attended the Layton School of Art in Milwaukee, Wisconsin, where he studied under Walter Sheffer and Gerhard Bakker. In 1964, he moved to New York City to freelance, but was drafted within two months into the United States Army. From 1964 to 1965, he served in the Vietnam War in a unit that supplied ammunition to units fighting in the north. His experiences there led him to publish the 1971 book Tulsa, a photo documentary illustrating his young friends' drug use in black and white. Routinely carrying a camera, from 1963 to 1971 Clark produced pictures of his drug-shooting coterie that have been described by critics as "exposing the reality of American suburban life at the fringe and ... shattering long-held mythical conventions that drugs and violence were an experience solely indicative of the urban landscape." His follow-up was Teenage Lust (1983), an "autobiography" of his teen past through the images of others. It included his family photos, more teenage drug use, graphic pictures of teenage sexual activity, and young male hustlers in Times Square, New York City. Clark constructed a photographic essay titled The Perfect Childhood that examined the effect of media in youth culture. His photographs are part of public collections at several art museums including the Whitney Museum of Art, Museum of Photographic Arts, and the Museum of Fine Arts, Boston. In 1993, Clark directed Chris Isaak's music video Solitary Man. This experience developed into an interest in film direction. After publishing other photographic collections, Clark met Harmony Korine in New York City and asked Korine to write the screenplay for his first feature film Kids, which was released to controversy and mixed critical reception in 1995. Clark continued directing, filming a handful of additional independent feature films in the several years after this. In 2001, Clark shot three features Bully, Ken Park, and Teenage Caveman over a span of nine months. As of 2017, they are his last films to feature professional actors. Ken Park is a more sexually and violently graphic film than Kids, including a scene of auto-erotic asphyxiation and ejaculation by an emotionally rattled high-school boy (portrayed by James Ransone, then in his early 20s). As of 2015, it has not been widely released or distributed in the United States. In 2002, Clark spent several hours in a police cell after punching and trying to strangle Hamish McAlpine, the head of Metro Tartan, the UK distributor for Clark's film Ken Park. According to McAlpine, who was left with a broken nose, the incident arose from an argument about Israel and the Middle East, and he claims that he did not provoke Clark. In a 2016 interview, Clark discussed his lifelong struggle with drug abuse, although stating he maintained total sobriety while filmmaking. He confessed that the only exception made to his practice of abstinence while filming was Marfa Girl. Clark explained that while filming that movie he used opiates for pain due to double knee replacement surgery. In 2015, Clark collaborated alongside notable skateboard and clothing brand, Supreme, to celebrate the 20th anniversary of Kids with a collection of decks, T-shirts, and sweatshirts that feature stills from the iconic film. The collection was released on May 21, 2015 in Supreme's New York, Los Angeles, and London locations and on May 23 in their Japan location.Source: Wikipedia Larry Clark, born in Tulsa, worked in his family's commercial photographic portrait business before studying photography with Walter Sheffer at the Layton School of Art in Milwaukee, Wisconsin from 1961 to 1963. He served in the military during the Vietnam War and has been a freelance photographer based in New York since 1966. During the 1960s, Clark documented the culture of drug use and illicit activity of his friends in Tulsa, and his photographs from those years were published as Tulsa (1971). Considered shocking for its graphic portrayal of the intimate details of its subjects' risky lives, the book launched Clark's career. After Tulsa, he produced Teenage Lust (1983), a series of photographs depicting adolescent sexuality, Larry Clark (1992), and The Perfect Childhood (1993). His work has been included in group and solo exhibitions since the early 1970s, and he was the recipient of a National Endowment for the Arts Photographers' Fellowship in 1973 and a Creative Arts Public Service photographers' grant in 1980. Clark has also produced films; Kids (1994), based on his experiences with New York City teenagers and their culture of drugs, alcohol, and sex, and Another Day in Paradise (1999). Larry Clark's photographs in Tulsa are unflinching portrayals of difficult and often unsightly circumstances viewed through a participant's eyes. Their first-hand intensity recollects the work of Danny Lyon and Bruce Davidson, but Clark's raw voyeurism and insistent exposure of detail results in a somberness that differentiates his work from that of others in the early 1970s. His recent photography addresses similar subjects, but with the distance of an observer, and a more prominent formal sensibility.Source: International Center of Photography
Sumit Gupta
India
1983
While a software engineer by profession, Sumit has been capturing and sharing the stories of cities and cultures since 2013. He finds the experience of walking around the city streets with a camera almost therapeutic and meditative. Inspired by the human condition, Sumit has photographed mostly in India and Europe. Sumit's photographs are inspired by a personal desire to find meaning in the world around us and attempt to draw attention to the poetic and inspirational nature of human life all around us. All about the project 'The River' The Kumbh Mela is the largest religious gathering of humans on our planet. Over the two month period that this festival happens, once every 12 years in 4 Indian cities, millions of people come from all over the country (and outside of it) to take an auspicious bath in the holy waters of the river Ganga. I'm interested in portraying how the contemporary experience of the Kumbh Mela is influenced by aspects such as globalization, consumption and current trends of social behavior. People from all over India come to this event as a pilgrimage to wash away their sins, but they're also cohabiting with people that see this as a cultural attraction, as a possibility to experience a foreign culture and filter it through social media. What's the impact of hyper-communication and advertising in the collective atmosphere of this spiritual gathering? The project tries to reflect on those ideas by working through the psychological climate of the different people that are present in the event. The images evidence the paradoxical and complex nature of a spiritual event that feeds on tradition when young people seem to drift away from old collective habits. The river, the sacred area where people transcend their humanity, is the perfect metaphor for the current situation; affected by mass production and consumerism, the polluted river is still worshipped as a place for cleansing; time will tell if the memory that holds this identity will keep flowing through the divine water, or if it will drown to the mirage of pleasures that float in the immediacy of today's world.
Bieke Depoorter
Belgium
1986
Bieke Depoorter (born 1986) is a Belgian photographer. She is a member of Magnum Photos and has published four books: Ou Menya, I am About to Call it a Day, As it May Be, and Sète#15. Depoorter received a master's degree in photography at the Royal Academy of Fine Arts in Ghent in 2009. The relationships Depoorter establishes with the subjects of her photographs lie at the foundation of her artistic practice. Accidental encounters are the starting point, and how these interactions naturally develop dictate the nature of Depoorter’s work. Many of her self-initiated projects are about intimate situations in families and in peoples' homes. For her graduation project and her first book, Ou Menya (2011), she made three trips to Russia, photographing people in their homes that she met whilst travelling around. The series won the 2009 Magnum Expression Award. Bieke Depoorter made the work for her second book, I am About to Call it a Day (2014) in a similar way whilst hitchhiking and driving around the U.S. However several recent projects have been the result of Depoorter questioning the medium. In As it May Be, she gradually became more aware of her status as an outsider, both culturally and as a photographer. So, in 2017, she revisited Egypt with the first draft of the book, inviting people to write comments directly onto the photographs. In Sète#15, and also Dvalemodus, a short film she co-directed together with Mattias De Craene, she began to see her subjects as actors. Although she portrayed them in their true environments, she tried to project her own story onto the scenes, fictionalizing the realities of her subjects in a way that blurred the lines between their world and hers. In the ongoing project Agata, a project about a young woman Depoorter met at a striptease bar in Paris in October 2017, she explores her interest in collaborative portraiture. It’s an example of Depoorter’s interest in finding people that can work with her in telling a story. These stories are always partially hers, and partially theirs. In her latest project Michael, she investigates the disappearance and life of a man she met on the streets of Portland in 2015. After giving her three suitcases full of scrapbooks, notes and books, everyone lost sight of him. Bieke Depoorter became a nominee member of Magnum Photos in 2012, an associate member in 2014, and a full member in 2016. She is the fourth Belgian member of the agency, after Carl De Keyzer, Martine Franck, Harry Gruyaert... Depoorter has won the Magnum Expression Award, The Larry Sultan Award and the Prix Levallois.Source: Wikipedia For the past six years, Bieke Depoorter has spent countless nights photographing perfect strangers—people that she encounters on the street who are willing to open their homes to Depoorter and her camera. The project began when she was travelling on the Trans-Siberian Railway, in 2008. She didn’t speak the language, so photography became her mode of communication. (She carried a letter that a friend wrote in Russian that explained her intent.) After publishing the work as a book, called Ou Menya, Depoorter headed to the United States, in 2010, where she hitchhiked and drove around the country, creating the collection found in her latest book, I Am About to Call It a Day. The project, both intimate and removed, hinges upon Depoorter’s ability to build trust within a tight timeframe. In many of the photographs, she seems to go unnoticed, capturing the unguarded moments found only in the privacy of one’s own home. “I like the atmosphere of the night,” Depoorter told me. “When people go to sleep, I think it’s most real. No one is looking at them, and they become their true selves.” She told me that her process is intrinsic to the success of her images. “I try to not hope for a picture,” she said. “I am there as a person first, and a photographer second.”Source: The New Yorker
Edward Henry Weston
United States
1886 | † 1958
Edward Henry Weston was a 20th century American photographer. He has been called "one of the most innovative and influential American photographers…" and "one of the masters of 20th century photography." Over the course of his forty-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years, he produced nearly 1,400 negatives using his 8 × 10 view camera. Some of his most famous photographs were taken of the trees and rocks at Point Lobos, California, near where he lived for many years. Weston was born in Chicago and moved to California when he was 21. He knew he wanted to be a photographer from an early age, and initially his work was typical of the soft focus pictorialism that was popular at the time. Within a few years, however, he abandoned that style and went on to be one of the foremost champions of highly detailed photographic images. In 1947 he was diagnosed with Parkinson's disease and he stopped photographing soon thereafter. He spent the remaining ten years of his life overseeing the printing of more than 1,000 of his most famous images. Source: Wikipedia Edward Henry Weston was born March 24, 1886, in Highland Park, Illinois. He spent the majority of his childhood in Chicago where he attended Oakland Grammar School. He began photographing at the age of sixteen after receiving a Bull’s Eye #2 camera from his father. Weston’s first photographs captured the parks of Chicago and his aunt’s farm. In 1906, following the publication of his first photograph in Camera and Darkroom, Weston moved to California. After working briefly as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad, he began working as an itinerant photographer. He peddled his wares door to door photographing children, pets and funerals. Realizing the need for formal training, in 1908 Weston returned east and attended the Illinois College of Photography in Effingham, Illinois. He completed the 12-month course in six months and returned to California. In Los Angeles, he was employed as a retoucher at the George Steckel Portrait Studio. In 1909, Weston moved on to the Louis A. Mojoiner Portrait Studio as a photographer and demonstrated outstanding abilities with lighting and posing. Weston married his first wife, Flora Chandler in 1909. He had four children with Flora; Edward Chandler (1910), Theodore Brett (1911), Laurence Neil (1916) and Cole (1919). In 1911, Weston opened his own portrait studio in Tropico, California. This would be his base of operation for the next two decades. Weston became successful working in soft-focus, pictorial style; winning many salons and professional awards. Weston gained an international reputation for his high key portraits and modern dance studies. Articles about his work were published in magazines such as American Photography, Photo Era and Photo Miniature. Weston also authored many articles himself for many of these publications. In 1912, Weston met photographer Margrethe Mather in his Tropico studio. Mather becomes his studio assistant and most frequent model for the next decade. Mather had a very strong influence on Weston. He would later call her, “the first important woman in my life.” Weston began keeping journals in 1915 that came to be known as his Daybooks. They would chronicle his life and photographic development into the 1930’s. In 1922 Weston visited the ARMCO Steel Plant in Middletown, Ohio. The photographs taken here marked a turning point in Weston’s career. During this period, Weston renounced his Pictorialism style with a new emphasis on abstract form and sharper resolution of detail. The industrial photographs were true straight images: unpretentious, and true to reality. Weston later wrote, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.” Weston also traveled to New York City this same year, where he met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O’Keeffe. In 1923 Weston moved to Mexico City where he opened a photographic studio with his apprentice and lover Tina Modotti. Many important portraits and nudes were taken during his time in Mexico. It was also here that famous artists; Diego Rivera, David Siqueiros, and Jose Orozco hailed Weston as the master of 20th century art. After moving back to California in 1926, Weston began his work for which he is most deservedly famous: natural forms, close-ups, nudes, and landscapes. Between 1927 and 1930, Weston made a series of monumental close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and trees at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston’s series of nudes and sand dunes in Oceano, California, which are often considered some of his finest work. Weston became the first photographer to receive a Guggenheim Fellowship for experimental work in 1936. Following the receipt of this fellowship Weston spent the next two years taking photographs in the West and Southwest United States with assistant and future wife Charis Wilson. Later, in 1941 using photographs of the East and South Weston provided illustrations for a new edition of Walt Whitman’s Leaves of Grass. Weston began experiencing symptoms of Parkinson’s disease in 1946 and in 1948 shot his last photograph of Point Lobos. In 1946 the Museum of Modern Art, New York featured a major retrospective of 300 prints of Weston’s work. Over the next 10 years of progressively incapacitating illness, Weston supervised the printing of his prints by his sons, Brett and Cole. His 50th Anniversary Portfolio was published in 1952 with photographs printed by Brett. An even larger printing project took place between1952 and 1955. Brett printed what was known as the Project Prints. A series of 8 -10 prints from 832 negatives considered Edward's lifetime best. The Smithsonian Institution held the show, The World of Edward Weston in 1956 paying tribute to his remarkable accomplishments in American photography. Edward Weston died on January 1, 1958 at his home, Wildcat Hill, in Carmel, California. Weston's ashes were scattered into the Pacific Ocean at Pebbly Beach at Point Lobos. Source: www.edward-weston.com
Song Chao
China
1979
Born in 1979 in the rugged landscapes of Shandong, China, Song Chao's journey into the world of photography began amidst the coal mines that defined his early years. From 1990 to 2004, he toiled as a miner, immersing himself in the harsh realities of this demanding profession. It was during this time, in 2001, that he first picked up a camera, finding solace and expression in capturing the lives and landscapes of the mining community. His lens became a tool for bearing witness to the struggles and resilience of the miners, resulting in powerful series such as "Miners," "The Residents of Mining Areas," and "The Sinking Mining Areas." In 2004, driven by a burgeoning passion for the visual arts, Song Chao embarked on a new chapter, enrolling at the prestigious Beijing Film Academy to formally study photography and art. This period marked a significant transition in his life as he honed his craft and expanded his artistic vision. Fast forward to the present day, and Song Chao has firmly established himself as a renowned artist on the global stage. His latest project, "Images in the Post-truth Era," delves into the complexities of our contemporary world, exploring themes of truth, perception, and reality in the age of digital manipulation and misinformation. Now based between New York City and Beijing, Song Chao's work transcends geographical boundaries, resonating with audiences worldwide. His evocative imagery has found a permanent home in esteemed institutions such as Musée de l’Elysée in Lausanne, Réattu Museum, Shanghai Art Museum, and the Shanghai Center of Photography, among others. Through his lens, Song Chao continues to challenge perceptions and illuminate truths, reminding us of the profound power of photography to capture the essence of the human experience. With each click of the shutter, he invites us to see the world through his eyes, to contemplate the stories untold and the realities often overlooked. In doing so, he leaves an indelible mark on the landscape of contemporary photography, enriching our understanding of both the visible and the invisible.
Shinya Arimoto
Arimoto, who was born in Osaka in 1971, currently resides and works in Tokyo. Arimoto, a 1994 graduate of Visual Arts Osaka, won the 35th Taiyo Award in 1998 for his piece "Portrait of Tibet." He started the Totem Pole Photo Gallery in 2008. In 2016, Arimoto collaborated with Zen Foto Gallery to publish "Tokyo Circulation," and in 2017, she was honored with the Photographic Society of Japan's Lifetime Achievement Award and the 26th Tadahiko Hayashi Award. His other works include "TIBET" and "ariphoto selection" (Nos. 1–10, Totem Pole Photo Gallery) (Zen Foto Gallery, 2019). He actively exhibits his work both inside and outside of Japan. In 2017, he held a solo exhibition at Le Plac'Art Photo in Paris, and in 2019, he took part in the group show "Am Rand der Gesellschaft. Barlach, Springer, Arimoto" at Museum Bautzen in Germany. Statement In 1994, while still in my early 20’s and fresh out of photo school I went to India to photograph. Six months into my travels the backpack in which I was keeping my exposed film – over 150 rolls – was stolen. This incident cast a dark shadow over my youth and ultimately signified a turning point in my understanding about photography which continues to this day. Even though I went to India determined to make photographs this event was the trigger for me to realize that essentially I was there sightseeing and made me question why I was even in India in the first place. It made me aware of the ambiguity of my determination (…). Soon after this I went to Nepal. With no set destination I happened to end up in Kathmandu. There, I encountered a Tibetan family on the roadside (…). My relationship with this family grew as we shared meals and our living space. In between mantra carving, I looked after the children when they played. Our time together was short yet it was a time of happiness. As the days passed I picked up bits of their language and began to feel a strong desire to see their homeland with my own eyes (..). In 1996, I set foot in Tibet. I’ll never forget that thrill. Everything that had happened so far – every coincidence, incident, and tribulation, had brought me to this point. (…) Looking back I realize that most of my twenties were spent with Tibet. Having started out as an empty vessel, it was Tibet and my experiences there that made me full.
Advertisement
AAP Magazine #54 Nature
Win a Solo Exhibition this January
AAP Magazine #54 Nature

Latest Interviews

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.
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes