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Alberto  del Hoyo Mora
Alberto  del Hoyo Mora
Alberto  del Hoyo Mora

Alberto del Hoyo Mora

Country: Spain
Birth: 1979

Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography.

His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people.

In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley

Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas.

Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity.

About Mystic Valley

Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage".

Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men.

Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him.

From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety.

Portraits of the fragility of a female childhood subrogated to warriors of honor.

Portraits of his reality.

It is vast, silent. Magical. Omo Valley
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John Novis
United Kingdom
1950
John Novis is photographer and story teller working on environmental issues, particularly climate change for the last 30 years. Climate Change is the biggest global threat ever known to mankind, yet it is the most challenging and difficult subject to visualize to any great effect. Any image presented, be it extreme weather events, scientific evidence or global protests can be argued against by a sceptic media, governments and industry. It is precisely this challenge that drives concerned photographers to push ever more creative photos into the image pool to drive home the importance of this emergency of our times. We are getting somewhere thanks to Greta Thunberg and Environmental groups such as Greenpeace, Extinction Rebellion etc. which provide scope for compelling pictures. Social media has also provided a valuable platform for citizen journalism reporting climate related events as they unfold in real time. How I got there I stared my career in photography in London during the 'swinging 60's 'years working with high profile photographers in Vogue, Apple Corp (Beatles), top Fashion and Industrial photo studios Adrian Ensor Labs up until 1977 when I enrolled on a 3 year 'Creative Photography' course in Nottingham University under the guidance of Thomas Joshua Cooper and Raymond Moore. In 1980 I received a grant from UK South East Arts to make a 30 minute, 16mm film called 'Our trip to the Zoo' analysing the family snapshot with the old Kodak slogan – 'to capture life'. Throughout most of the 80's I worked as a freelance commercial photographer and then in 1989 I joined Greenpeace as an in –house photographer where I was employed until 2015. Just before I joined Greenpeace, I was becoming disillusioned with photography as an instrument for advertising and generating profit. It was though Greenpeace I was able to employ my expertise in photography to produce images that would serve as a wake-up call to the critical state of our environment. As photography became more important to the organisation I became Head of Photography at the international headquarters in Amsterdam, directing major photo projects such as: - Ocean and whaling expeditions, Amazon – Illegal logging, Yunnan, China campaigning against the introduction of GMO rice to the rice growing communities, Climate in Crisis - Yellow River drying up, the Disappearing Glaciers on Everest, Climate and Poverty along the Silk Road in Gansu Province, China - Palm oil production in Riau, Indonesia and 'Forest Solutions' global communities living from the forest management towards a sustainable solution. In addition, I have also worked on numerous successful publications including the nuclear industry of Russia with Dutch photographer Robert Knoth, (Panos) and Bhopal – '' with Raghu Rai (Magnum). My professional services outside Greenpeace have included, organizing and hosting the Beijing Photo Master Classes with World Press Photo winners, member of the jury for the 2007 CHIPP (China International Press Photo Contest) and Member of the Jury and visiting lecturer to Fotopub, Slovenia July 2008. Directing a major exhibition and slide show at 1999 Perpignan, Visa Pour L'image with an interview with Jean Francois Leroy on stage. In 2012 I ran a photo workshop and curated a renewable energy exhibition at the Angkor Photo Festival in Siem Reap, Cambodia and was invited as guest speaker for Wild Photos at the Royal Geographic society in 2011. I am currently working on Climate Emergency events and supporting on line publications with consultancy and archive picture material.
Edward Steichen
Luxembourg/United States
1879 | † 1973
Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
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
Michael Knapstein
United States
1956
Michael Knapstein (born 1956, Stevens Point, Wisconsin, USA) is a fine-art photographer who has earned international recognition for his insightful and nuanced visual exploration of the American Midwest. He now lives in Middleton, Wisconsin. Michael's photographs began attracting national attention while still in high school. At the age of 17, his work earned its way into the permanent collection of the George Eastman Museum in Rochester, NY. After graduating from the College of Fine Arts and Communication at the University of Wisconsin, Knapstein began a 30+ year career in the world of advertising. He sold his ad agency in 2010 and returned to his first love of photography. Since this reemergence, Michael's work has been recognized with hundreds of awards in some of the world's most prestigious photography competitions. He is a four-time Critical Mass Finalist, Pollux Award Winner and was named International Landscape Photographer of the Year at the 5th Barcelona Foto Biennale in Barcelona, Spain. He was also named one of "14 Inspiring American Artists" by Skillshare and Feature Shoot. His work has been widely exhibited in museums and galleries around the world. The Unforgotten My photographic series “The Unforgotten” was created to honor and preserve the rapidly disappearing family farm and the rural agricultural tradition that helped build the American Midwest. During my lifetime, we have lost more than 105,000 family farms just in my home state of Wisconsin. While these traditional small farms are falling victim to corporate agriculture and urbanization, their legacy is still honored with events that celebrate the proud agricultural heritage of the Midwest. Often, these gatherings include antique agricultural equipment, sometimes dating back to the days of steam power. I explored this world for several years by attending more than 50 small agricultural fairs and rural festivals across the Midwest. I was drawn to this subject matter because these people and their farm equipment – both once symbols of progress and innovation – now stand as relics of a bygone era. The resulting images speak to themes of rural identity, memory, loss, history, heritage, pride, family, community and sense of place. To express the timeless nature of this material, I approached this project from a “straight photography” perspective in the spirit of Group f/64. My approach was informed by the iconic work of WPA artists and mid-century modernist photographers such as Adams, Weston, White, Strand, Parks and Evans. My work was also influenced by the American Regionalism movement and the work of artists including Wood, Benton, Curry, Wyeth and Hopper. These proud people and their farm machines may eventually fade into the mist of time. But perhaps through my images, their stories may forever remain Unforgotten.
Jacob Aue Sobol
Denmark
1976
Jacob Aue Sobol (born 1976) is a Danish photographer. He has worked in East Greenland, Guatemala, Tokyo, Bangkok, Copenhagen, America and Russia. In 2007 Sobol became a nominee at Magnum Photos and a full member in 2012. Four monographs and many catalogues of his work have been published and widely exhibited including at Yossi Milo Gallery in New York and at the Diemar/Noble Photography Gallery in London. Born in Copenhagen, Sobol lived in Canada from 1994 to 1995. Back in Europe he first studied at the European Film College and from 1998 at Fatamorgana, the Danish School of Art Photography. In the autumn of 1999, he went to the remote East Greenland village of Tiniteqilaaq to photograph. The visit was only supposed to last a few weeks but after meeting a local girl, Sabine, he returned the following year and stayed there for the next two years, living the life of a fisherman and hunter. In 2004 Sobol published Sabine, which in photographs and narrative portrays Sabine and describes his encounter with Greenlandic culture. The pictures in the book express the photographic idiom he developed at Fatamorgana. In the summer of 2005, Sobol went with a film crew to Guatemala to make a documentary about a young Mayan girl's first trip to the ocean. The following year he returned to the mountains of Guatemala, this time by himself, to stay with an indigenous family for a month to document their everyday life. In 2006 he moved to Tokyo to spend 18 months photographing the city for his book I, Tokyo. Commenting on the book, Miranda Gavin appreciates how "the sensitivity of his approach shines through the work and sets him apart as one of a new generation of photographers with the ability to allow eroticism and danger to seep through his images without becoming sordid or clichéd." Sobol became a nominee of Magnum Photos in 2007 and a full member in 2012. In 2008, Sobol worked in Bangkok where he photographed children fighting for survival in the Sukhumvit slums, despite the country's growing economic prosperity. In 2009, he moved back to Copenhagen. Since then he has worked on projects at home as well as in America and Russia.Source: Wikipedia Following his time in Tokyo, Jacob worked extensively in Bangkok, resulting in the 2016 book By the River of Kings. In 2012 he began photographing along the Trans-Siberian Railroad and spent the next five winters photographing in the remote Russian province of Yakutia for his project Road of Bones. He has ongoing projects in Denmark (Home) and the United States (America).Source: www.jacobauesobol.com
Mariana Basurto
Mexico
1976
My name is Mariana Basurto. I was born in Mexico City and I'm passionate about exploring the world with my camera in hand. My photography seeks to invade the intimacy of the streets, to extract and represent the magic that is perceived in everyday life and show the world from my eyes. Through my lens I seek to capture the unique and different everyday life with a personal stamp. With every click of my camera I connect with people through a smile or conversation where I have achieved spontaneity, intimacy and respect. There are three people and a country that triggered my passion for street photography at various times in my life. My grandfather and my father taught me to never stop being surprised in life and this fueled the action of exploring the planet. Today, I have visited more than seventy-five countries in the world and I have had the opportunity to live in five of them. My sister inspired me to photography when we traveled together and she captured moments with her Kodak camera from the 1980’s. Finally, having lived in a city like Shanghai motivated me to tell with my lens the fascinating stories that are lived every day in a country as special as China. I hold an Industrial Engineering degree and Professional Cook but abandoned both careers to focus on photography. I’m a member the Women street photography and Mexican Street Photography Collectives. I’m interested in documentary, travel and street photography. My medium-long-term documentary projects are: • At their home – Show how people live around the world. Through my connection on the street I have managed to enter people's homes and they have shown me how they live. • Elder beauty portrait- Document the expressions, textures and stories of elderly men and women from different cultures who through their skin show a unique beauty • Quirks – Fun and unique things from everyday life that represent cultures, places or people I have recently participated in worldwide exhibitions in Hong Kong, New York, Iran, Mexico but my greatest reward is seeing people's expressions when I show them their photo. They feel happy, heard, and represented. I currently live in Charlotte, North Carolina, in the United States in constant search of new places to visit and stories that my lens can tell Statement My photography is a unique, personal dialogue between the images and viewer, crafted with the passion and privilege of capturing human connections and truths, often challenging prevailing narratives without compromise,. My main belief is that: “Never stop being amazed”
Peter Harlow
Australia
1948
Peter was born and educated to first degree standard in the UK. He gained a private pilot license in 1970. His career spans aerial photography, corporate communication and management development. After emigrating to Australia in 2001 he ran his own company providing small light aircraft to farmers, flying schools and private clients. Recently he took up commercial drone flying – which combines his love of photography and views from the sky. He currently lives in Melbourne with his artist partner. As a photographer, I have always been fascinated by the interplay of light, shadows and shapes that exist in both the natural and human-made world. For many years, as a pilot I saw the landscape from a small aeroplane. With the advent of drone technology, which enables the camera platform to remain static and fly much closer to the surface, I can now explore the landscape from new angles and perspectives, capturing images that were impossible from an aeroplane. Artist statement: One of the key elements of abstract art is the process of abstraction, where artists take familiar objects and break them down into their essential components. Similarly, my photographs capture landscapes from above, abstracting the natural world into a series of shapes, colours and textures that are sometimes quite different from their original form. By removing the context of the wider landscape, I want to encourage the viewer to see the world in a new light, as a collection of abstract forms that are both beautiful and intriguing. In abstracting the landscape, my aim is to create a body of work that challenges your perceptions and invites you to see the beauty and charm that exists all around us.
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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry