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Mike Magers
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Mike Magers
Mike Magers

Mike Magers

Country: United States
Birth: 1976

Michael Magers is a documentary photographer and journalist based in New York City. He is a frequent collaborator with the highly acclaimed team at Roads & Kingdoms and served as the lead photographer on their award-winning books, Rice Noodle Fish and Grape Olive Pig (as well as contributing to the 3rd book in the series Pasta Pane Vino) published by Harper Collins/Anthony Bourdain.

His images are exhibited both internationally and in the U.S. and have appeared in a wide range of digital and print publications including TIME, Smithsonian, Vogue Italia, Huck Magazine, Outside, The California Sunday Magazine, CNN's Explore Parts Unknown, Saveur, New York Times - T Magazine (Instagram Takeover), Grantland, Barron's, The Guardian.com, and L'oeil de la Photographie.

Michael's work documenting craftsmanship in Japan was named a 2016 Critical Mass Finalist.

About Independent Mysteries
Independent Mysteries (pub. November 2019) is the first monograph from documentary photographer Michael Magers. In it, Magers exposes the persistent tension between connection and disconnection -- a feeling of "intimate distance" -- he grappled with while traveling to places like Japan, Haiti, and Cuba for various assignments and personal projects. Drawing on nearly a decade of work, each image can be viewed as a film-still, with little context other than light brushes of human contact, fleeting intimacy, solitude and vulnerability. Every one of the grainy, black-and-white photographs in this book carries with it a secret to be discovered and explored.

Read More about Independent Mysteries Book
Selected Books on Available on Amazon
Michael Magers: Independent Mysteries
Michael Magers: Independent Mysteries

Websites

mpmagers.com

@mpmagers

 

Selected Books

Michael Magers: Independent Mysteries
Michael Magers: Independent Mysteries
Michael Magers

Inspiring Portfolios

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More Great Photographers To Discover

Lara Wilde
Lara Wilde
Germany
1988
Lara Wilde dances in her projects between the themes of raw human emotions and the complexity of the outside world. As a photographer and psychologist she is interested in what moves us as humanity on an individual level. Besides an intensive involvement with her protagonists, she stands for technical perfection in the execution, which has earned her several awards. Since 2016 Wilde is working as a fine art photographer and creative director. Statement A few years ago I moved from a Norwegian village back to Berlin to study photography. What I didn't know back then is that you unlearn being a city person when you are gone long enough. I really thought I would die in the anonymous streets of the city I once loved so much. As you know, when we are determined to solve a problem, we go deeper into it. So I wanted to meet strangers and see how they feel outside of their awesome social herds. A lot of nights I now invited myself to other peoples houses, men and women, all strangers, drinking coffee and photographing them in the process. I shot them in longterm exposures, first, because I didn't want to bring a lot of equipment, but later I enjoyed the slow process, sitting there in darkness and waiting for the picture to come through. For some people, it was torture sitting around in the darkness, confronted with their thoughts without their smartphones, friends or busy surroundings. For me they looked like something was missing when they were just sitting by themselves. It felt really personal watching them trying to get comfortable in this inputless scene, to see them struggle, or to see them think and sometimes sharing the feelings that were coming forward. All these conversations with strangers, waiting around in the dark, gave me a feeling of togetherness, becoming a tiny particles of their lives and giving them something that they normally didn't have: Stillness. They were so open and thankful for conversations and most of the times we talked about the real shit: About being lonely, about dying, about calling our parents and our first love. All the stories found their way into the pictures and reminded me of everything we talked about. But I personally got my Berlin back. Not at the streets, but at the dark corners of their homes. Everything in their homes told their stories as loud as they did and I had the honor of being part of it for a short period of time. I get you now, Berlin-people: You are kind and giving, but you are afraid of being used. You are interested in others, but don't want to be tangled up in other peoples problems. You want to show yourself, but want to be accepted. And if you like it our not, the people around you want that too.
Ryotaro Horiuchi
Ryotaro Horiuchi
Japan
1969
Ryotaro Horiuchi was born in Tokyo in 1969. When he was a teenager, he started to work at the furniture studio as an assistant. During his time at the studio, he was asked to take photographs of furniture as its records. And that was the first time he felt his intention to focus on a thing in front of his eyes ''Through The Lends''. And that ''intention'' turned him into ''photo-holic'' by realizing the potential of photographs. Since then, he has been working on his works from Osaka University of Arts and while he was in Germany and till now. Now he is working with ''Descendants of Samurai'' and ''Roma Gypsy'' by taking their portraits. To do so, he keeps focusing on ''the identity'' of them and himself. Falling Waters When I faced the waterfall, my eyes were riveted on the falling waters. The waters kept changing and never became the same figure. I saw the vitality in its overwhelming energy. The waters looked so alive that I felt as if I were photo shooting creatures. These are not scenic photos but portraits of waterfalls. The waters kept moving vigorously with a roaring sound, however, I loved the silence behind it. Quiet Existence I have relatives who emigrated to a foreign country under a state-led migration policy during the pre-war period. They live as minorities in the country. Hearing stories about them as I grew up made me fascinated with people who are defined as minorities. When I was staying in Germany, I later learned that the people who had been closed to me were Roma. I had absolutely no knowledge about Roma at that time and their lifestyle looked just so mysterious to me. Since then, I had been drawn to their strong identity and I visited the area where many Romani people live. I met many other ethnic groups of people who live as minorities there. When I faced their lifestyles, I could see their quiet yet strong identity behind them, which strongly resonated with me. It might be impossible for minorities to maintain their culture without keeping their strong identity. What is identity? The question always makes me ask myself what kind of individuality I retain. Discover Descendants of Samurai
Germaine Krull
Germaine Krull
Germany
1897 | † 1985
Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
Elizabeth Bourne
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
Jorge Pozuelo
Jorge Pozuelo
Spain
1977
Born in León in 1977, he began his photographic career in the 90s. He quit his job as a telecommunications technician to devote himself to photography where he did an MA in photography from the University of Canterbury. He always wanted to find the human side in all his photographs, playing with visual aggression and silence of space. In 2009 he took an year off and traveled the world and published “Picture Easy”, a book for all rules of photography, affordable for anyone to start in the world of photography. He worked for an year as a digital photographic technician, where he met all professional teams and medium format digital market issues resolved color management studies like Ricky Dávila and Isabel Muñoz. He has done work for companies like Unidental photographic, Silken Hotels, Tinkle, Adecco, AD, Truhko Make Up, FX Magazine, Life Smile or artistic bodies festival in Spain. In October 2011 he traveled to Doha for several editorials for the magazine “Qultura” for the government of Qatar. He has done several photo exhibitions, “BodyArt”, “TattooArt” or “walls of silence”, joint exhibition of great impact in the press and on TV Carabanchel prison. He has made a joint project with the photojournalist Ervin Sarkisov titled “Back to Life” where they follow up drug abusers. His presentation was in the 2011 grenade Alandaluz Photofestival double pass and very well received. In the course of months he has now approached to teaching, he runs a photography school in Madrid and tries to instill his passion for photography. He has given seminars on photographic lighting as both white and black, making the latter a small obsession in Madrid, Cordoba and Barcelona for different associations, municipalities and companies like Elincrom and Fotocasión.Source Artphotofeature.com
Melvin Sokolsky
Melvin Sokolsky
United States
1933 | † 2022
Melvin Sokolsky is an American photographer and film director. Born in New York City in 1933, Sokolsky was raised on the Lower East Side. He had no formal training in photography, but started to use his father's box camera at about the age of ten. Always analytical, he started to realize the role that emulsion played as he compared his own photographs with those his father had kept in albums through the years. "I could never make my photographs of Butch the dog look like the pearly finish of my father's prints, and it was then that I realized the importance of the emulsion of the day." Around 1954, Sokolsky met Robert Denning, who at the time worked with photographer Edgar de Evia, at an East Side gym. "I discovered that Edgar was paid $4000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration." Whether floating models down the Seine in a bubble, or shrinking his subjects, Alice-like, to miniature heights, Melvin Sokolsky helped to pioneer illusory fashion photography long before the age of digital enhancement took hold. Though he is best known for his editorial fashion photographs for publications such as Harper's Bazaar (for which he produced, in 1963, the Bubble series of photographs depicting fashion models “floating” in giant clear plastic bubbles suspended in midair above the River Seine in Paris), Vogue, and The New York Times, Sokolsky’s work is not limited to that field. Three quarters of his print photography has been for advertising, which does not usually carry a byline. As Sokolsky said in an interview: “I resented the attitude that ‘This is editorial and this is advertising. I always felt, why dilute it? Why not always go for the full shot?” Toward the end of the 1960s, Sokolsky worked as both commercial director and cameraman. He did not, however, abandon the world of print photography; in 1972 he was asked to photograph the entire editorial content of McCall's Magazine, a first for any photographer.Source: Wikipedia Melvin Sokolsky was born and raised in New York City where he started his distinguished career as a stills photographer. At the age of twenty-one he was invited to join the staff of Harper's Bazaar. Within the next few years he worked as a major contributor to four prestigious magazines: Esquire, McCall's, Newsweek, and Show. His photographs of internationally famous personalities have appeared in many of the major museums and magazines worldwide. In 1962, Sokolsky photographed the entire editorial content of McCall's Magazine, a first in its time. He is best known of his infusion of surrealism in his fashion photography, with his iconic series of women encased in plastic bubbles, floating around various cityscapes. In 1964, Sokolsky was invited by the School of Visual Arts in New York to teach a special class at his studio in New York. In 1969, Sokolsky embarked on a new career in television commercials as director/cameraman. Sokolsky has been honored with twenty-five Clio Awards, and is the recipient of every major television commercial award including the coveted "Directors Guild" nomination. Many of Sokolsky's commercials are in the permanent collection of the Museum of Modern Art. In 1972, Sokolsky versed in all phases of special effects and cinematography, presented a computerized zoom lens that he designed to the Academy of Arts and Sciences. The system was subsequently nominated for an Academy Award. 1975, Sokolsky was invited by the Japanese Graphic Society to lecture in Tokyo and Kyoto, and was subsequently named Honorary Professor of Photography. In 1986, the Victoria and Albert Museum installed an exhibition of photographs called Shots of Style, a retrospective of the worlds major fashion photographers. The Victoria & Albert included Sokolsky's photographs in the exhibit, and subsequently placed many of them in their permanent collection. In 1991, the Victoria and Albert Museum mounted a show called Appearances, that is slated to travel around the world. Source: www.sokolsky.com
Constance Jaeggi
Constance Jaeggi
Switzerland
1990
I have always had a fascination with horses which in part stems from my interest in the essential role they played in the development of modern civilizations. At the heart of the relationship between horses and humans is a large paradox. At once a tool in conquests and war because of their tremendous power and capacity for speed, they remain a herd and prey animal. Through photography both inside and outside of the studio, I explore the duality of these flighty yet mighty animals, as well as their relationships with humans, in particular with women whose livelihoods still depend on these animals. My journey with photography started in 2013, after earning my bachelor’s degree from Texas Christian University. After this, I completed a short course in Photography at the New York Film Academy and a Masters in Art History and Art World Practice at Christie’s in 2021. Over the past three years, I have been documenting Camilla Naprous of the Devil's Horsemen with my film cameras and the resulting project The Devils is subject of an ongoing exhibition at the Cowgirl Museum in Fort Worth, TX. Statement I spent most of the pandemic cloistered at the Devil’s Horsemen outside London, UK, a leading supplier of horses and stunt men and women in the film industry. Using my film cameras to get closer to the team who were also locked down at the farm, I documented the small group of women during their daily routines as they cared for the horses and continued training in anticipation of the reopening. From very different walks of life, the people at the Devil’s Horsemen are brought together by their love of horses and their determination to make a life for themselves in which horses play a central role. The company is today led by Camilla Naprous, a second-generation horse master whose father founded it in the 1970’s. Far from the glamour of Hollywood, this project pulls back the curtain on a fascinating way of life, a mix between intimacy and arduous labor where the relationship between horse and woman knows no boundaries.
Kristyn Taylor
Kristyn Taylor
New Zealand/Australia
1959
I’m Kristyn Taylor, a self-taught photographer based in Australia. After arriving in Australia from New Zealand, I studied Zoology at university—a passion developed in childhood and shaped by influences such as the TV series Daktari, Sunday night wildlife documentaries, and the legendary Jane Goodall. I went on to complete a thesis on bird behaviour, developing a deep appreciation for observation and documentation. Over time, my creative focus evolved into ceramic sculpture, and I became an exhibiting artist creating life-sized dioramas that reflected my life experiences. Through this work, I developed an eye for form and colour. In 2014, when my children were old enough for me to travel independently, I began working with photography and started travelling solo. During this time, I developed a particular interest in people and traditional cultures. In 2025, I stepped away from other work to focus fully on developing my photography. I feel that my background in both science and the arts has greatly informed and shaped my photographic practice. AAP Magazine: AAP Magazine 53 Travels
Bob Richardson
Bob Richardson
United States
1928 | † 2005
Robert George Richardson was an American fashion photographer. He was born in Long Island, New York, to an Irish Catholic family. Originally a graphic designer in New York City, Bob Richardson did not pick up a camera until age 35. His rise to fashion fame was swift, although not without some battle on his part: "I wanted to put reality in my photographs. Sex, drugs and rock 'n' roll. That's what was happening. And I was going to help make it happen. Boy they did not want that in America. Some of those editors were still wearing white gloves to couture." Richardson developed a reputation for being very difficult to work with. He brought his personal life, which was tumultuous, into his art. He battled with bouts of schizophrenia throughout his life. After making it to the top of the often catty and vicious world of fashion, getting paid up to $15,000 for a single image, he succumbed to his illness and ended up homeless on the streets of San Francisco. In 1989, an art historian researching fashion photography tracked Richardson down living in a flophouse, opening the door to Richardson's reestablishing contact with his son and eventually returning to New York City, where with the help of Richard Avedon and Steven Meisel, he was able to obtain teaching positions at International Center of Photography and the School of Visual Arts. Richardson restarted his career in his sixties, once again working for such magazines as Italian Vogue and British GQ. He was the father of photographer Terry Richardson and Margaret "Meg" Richardson (9/30/1957-5/8/2015).Source: Wikipedia Bob Richardson, a fashion photographer of the 1960's and 70's who transmitted the excitements and regrets of a generation of free spirits before disappearing into a shadow land of mental illness and homelessness, died on Dec. 5 at his home in Manhattan. He was 77. He died of natural causes, said his son, Terry. Robert George Richardson, born to Irish-Catholic parents on Long Island, was attracted to the messy, tempestuous, desolating quality of human relations. He was one of the first photographers to recognize that these emotions were not outside the world of 60's fashion but were in fact vital to it. In a 16-page spread in French Vogue in 1967, he evoked the sex idyll, the gloom and the sudden all-obliterating passions of two lovers on a Greek island. In one shot, the model Donna Mitchell is seen crying; in another she lies on a rocky shore, her face turned away, with her nude lover in the water before her. Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people. "Which were not about being applauded as you made your entrance to the opera," said Joan Juliet Buck, the writer and fashion editor, who first met Mr. Richardson in 1969 and later introduced him to her friend Anjelica Huston, with whom he had an intense four-year relationship. "They were about crying in your room, feeling lonely, hoping for sex." To photographers like Bruce Weber, Steven Meisel and Peter Lindbergh, Mr. Richardson was a pathfinder. As Mr. Weber said, describing his influence: "There's no textbook, no award, but there is this Bob Richardson school of photography. And it's an anti school. He was the first guy who said it was O.K. to underexpose the film, to not show the clothes." Mr. Weber added: "So many photographers when I first started out idolized Bob. He was sort of an underground figure." In a 1995 profile in The New Yorker, when Bob Richardson had resurfaced after more than a decade of drifting around Southern California and living in cheap motels or at times on the beach, he told the writer Ingrid Sischy: "I wanted to put reality in my photographs. Sex, drugs, and rock 'n' roll -- that's what was happening. And I was going to help make it happen. Boy, they did not want that in America. Some of those editors were still wearing white gloves to couture." Bob Richardson was as overbearing and opinionated as he was seductive and handsome. Terry Richardson said his father's schizophrenia was diagnosed in the 1960's. Years of drug and alcohol abuse added to his instability and increasing rootlessness, especially in the 80's, when he had mostly cut off ties with his family. Terry Richardson, also a photographer, said he first helped get his father off the streets in 1984, and by then he had been homeless for two years. "He had lost everything," his son said. After growing up in Rockville Centre, N.Y., Mr. Richardson studied art at the Parsons School of Design and Pratt Institute without graduating. His first marriage, to Barbara Mead, produced a daughter, Margaret, but soon collapsed; according to The New Yorker article, Mr. Richardson did not maintain contact with them. (Terry Richardson said he had not seen his half-sister in a decade and did not know her whereabouts. There are no other immediate survivors.) By the early 60's, Bob Richardson was taking fashion photographs and had resolved, he told Ms. Sischy, to "photograph my kind of woman." Harper's Bazaar gave him his first commission in 1963, and the magazine's art directors, Ruth Ansel and Bea Feitler, seemed especially attuned to his loose, unencumbered style. Around this time, he married an actress named Norma Kessler (from whom he was later divorced), and Terry, their only child, was born in 1965. Norma served as the assistant for the Greek island shoot two years later. "It was just my mom, Dad and me with a bag of clothes," Terry said. "They just went off together and did these pictures." By 1970, Richardson was deeply involved with Ms. Huston, who was 18 when they met, and together they would produce some of the most wistful portraits of the era. Certainly no photographer ever made Ms. Huston look more beautiful. Terry Richardson said the two last saw each other at an airport in 1973, when they went their separate ways. With much of Mr. Richardson's original work lost or buried in magazine archives, a number of individuals, including Mr. Meisel and the art historian Martin Harrison, tried to help restore at least his reputation as an groundbreaking photographer. And in the 90's he received some new assignments from magazines like Italian Vogue. But Mr. Richardson could be hardest on the people who loved him. "It was his way or the highway," his son said. Early this year, Bob Richardson, who had been living in Los Angeles, decided to return to New York, driving across the country in an old Mercedes with his dog, Mick, and taking pictures. He had a publishing deal to produce his first monograph, with Greybull, but through some orneriness, it fell through. Terry Richardson said he would do the book, which includes an autobiography. And in deference to his father's wishes, it will not have any color pictures: "My dad always said, 'I see the world in black and white.' "Source: The New York Times
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Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
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.
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