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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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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

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Adam Bartos
Adam Bartos
United States
1953
Adam Bartos visited local speedways in rural New York, Florida and New Mexico where drivers race the super-stock class of car on quarter-mile dirt oval tracks. This elemental class of driver-owned racecar competes without corporate sponsorship, for minimal prize money, simply for the pure thrill and sport of weekend motor racing on tracks all over the U.S. The intrinsic aesthetic Bartos captures is that of a rather crude and utilitarian technology glamorized by the singularity of its purpose and accumulated patina, acquired at high speeds on dirt tracks.It is said that stock car racing originated in the 1920s, during prohibition, when "moon runners" began boasting about the speeds of their nighttime trips, often on backcountry roads, illegally transporting liquor. Soon they began to race with each other for sport on weekends. (Famously, Robert Mitchum played one of these runners in the 1950’s cult classic, Thunder Road).Adam Bartos’s work has been exhibited widely. His books include: International Territory (Verso, 1994), which looks at the aging modern architecture of the United Nations’ headquarters and, implicitly, the ideals which created it; Kosmos (Princeton Architectural Press, 2001), a then inconceivable look into the Russian space program; Boulevard (Steidldangin, 2005), a dialogue between Paris and Los Angeles; Yard Sale Photographs (Damiani Editore, 2009) and Darkroom (Steidldangin, 2012). His work is in the collections of the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art, and others. In 2013, he was shortlisted for the Prix Pictet, a global award in photography and sustainability, for his series Yard Sale Photographs.
Liam Man
Liam Man
United Kingdom
Liam Man is a Sony Imaging Ambassador and master of aerial light-painting, based in the United Kingdom. By illuminating landscapes at night, he transforms the darkness into his canvas, upon which he uncovers hidden textures and contours that would be invisible during the day. Each photograph is meticulously crafted into a surreal impression of the Earth, while remaining firmly grounded in reality. A keen explorer and environmentalist. Liam’s recent work combines artistry with advocacy and offers a vision of the world that highlights its fragile beauty while inviting viewers to consider their relationship with the environment. His images are a call to action, leaving an enduring impact on all who encounter it. Statement: By showcasing places in a new light, I hope to shift people’s perspectives. To see incredible destinations as more than just backgrounds for social media. My creative process is deeply intentional, involving days immersed in remote environments observing how light interacts with the terrain. Only when I truly understand my subject do I begin to "paint" the scene with aerial lighting rigs. A process of discovery, I love finding unusual shapes in the shadows.
Astrid Verhoef
Astrid Verhoef
Netherlands
Astrid Verhoef is a fine art photographer based in Amsterdam. She graduated from the Arts Academy “Hoogeschool voor de Beeldende Kunsten Utrecht” in 1998. Astrid started as a classic landscape photographer, inspired by photographers like Ansel Adams, but gradually felt the need to express herself differently, in a manner that more reflected her imagination and creativity. She started building a new portfolio around 2007, and by 2010 she had fully adopted the theatrical visual language we can recognise in her photography today. Her work can since be defined as surreal compositions, showing figures and objects that seem to be at odds with the desolate environments they find themselves in. Astrid aims to emphasize the contrast between the human presence and the landscape, while exploring her personal relationship with the natural world. Throughout her career Astrid also worked as a curator, and has produced exhibitions in New York, Amsterdam, Leiden and Tokyo. She’s collaborated with Photoville New York and was a program manager and curator for photography platform Photo31 from 2018 until 2024. But her main focus will always be her autonomous artwork which leads her to magnificent landscapes, from The Netherlands and Spain to Australia and the USA, to explore her personal relationship with the natural world. Astrid usually works solo and therefore is also the model in most of her images. If needed she uses basic collage techniques in her artworks top achieve the desired image, but she never adds any components by using AI. The props and figures are all actually photographed, which makes every artwork a cherished memory as well. Astrid’s artworks have been internationally awarded, and have been exhibited in London, Amsterdam, Los Angeles, Berlin, Cannes, Milan, New York, Paris, Rotterdam, Sydney, and Tokyo. Her artwork is included in the collection of the Société Nationale des Beaux Arts in Paris. Statement: As a fine art photographer Astrid Verhoef explores her personal connection to the natural world. The complicated relationship between human and nature is a common thread throughout her work, from the ‘Inscapes’ and ‘Human//Nature’ series up to the more recent single images. When she photographs herself in these desolate landscapes an anonymous character arises that wants to connect with her surroundings. However, her roots in contemporary modern life often remain visible in the form of an unnatural element. The serene images can be seen as emotional translations where the desire for synergy is challenged by an urge to control. The long-term project 'Human//Nature' is a logical continuation of Verhoef’s well known 'Inscapes' series. With an increasing minimal visual language and a more geometrical approach to composition, she aims to emphasize the contrast between the human presence and the natural. With her latest work, At the same time she wants to create moments or scenes that can only exist because of the combination of the two. Her theatrical photography is also an ode to imagination itself. For these images Astrid Verhoef works solo on location, all elements are photographed and she acts as a model in her own images. These images do not contain any AI generated components. Only basic Photoshop tools were used, such as color /contrast adjustments, collage technique (if needed). Astrid Verhoef has photographed on locations in Australia (Northern Territory, Southern & West Australia), Spain (mainland & Canary Islands), USA (Utah, Nevada, Arizona & California) and The Netherlands.
Margo Davis
Margo Davis
United States
1944
Margo Baumgarten Davis is a photographer, educator and author of several photographer's books. Margo was raised in Connecticut and has lived for over 30 years in Palo Alto, California. She attended Bennington College, spent time at the Sorbonne studying French literature, and graduated from University of California, Berkeley. It was at UC Berkeley where she met her first husband Gregson Davis and traveled frequently to his home country of Antigua. She has a daughter, Anika and a son, Julian. Davis has produced photography in Paris, Italy, Nigeria and in the Caribbean, and has done a significant amount of portraiture. Davis has photographed Saul Bellow, Maxine Kingston, Tillie Olsen, Ursula K. Le Guin, Diane Johnson, and Kay Boyle. In Nigeria, Davis produced a number of photographs of the Fula people. Davis has spent time lecturing at Stanford on photojournalism with the communications department. She has also taught photography at University of California, Berkeley, and University of California, Santa Cruz. In 2017, Margo's book Antigua: Photographs 1967-1973 was published by Nazraeli Press. At interview, Margo said she produced the book after hearing interest expressed at an exhibit in Antigua. Antigua As young artists, we are drawn to projects that help us understand truths about who we are and what we want to become. When we are just starting out, that process is intuitive, at times random; it is also intense and thrilling. This was my experience when I began photographing in Antigua in 1967. It was the very beginning of a long journey in photography that is evolving to this day, 40 years later. From my first days in Antigua, I was overwhelmed by the timeless beauty of the place and especially by the strength of its people. I was born on the East Coast of the United States, a few thousand miles to the north. I was welcomed into a world and culture different from my own. Starting with the Antigua photographs in this exhibit, my life's journey has been with a camera and with an eye for the landscape of the human face. Although I was often moved to photograph the beaches and sunsets, and the shapely old sugar mills and estate houses of the island, I am primarily a portraitist. Drawn to the people of the villages that dotted the island, my early inspirations came from the faces you see here. Whenever possible, I asked permission to photograph - because the power of my portrait style depended on the comfort of the people that I was photographing. Since those early years, my interest in humanistic photography has propelled me into the world of various cultures. I have exhibited those photographs internationally and produced four books. However, it was on the island of Antigua where my passion for photography first began to flourish. Antigua Black; Portrait of an Island People was created and published in 1973. I want to thank again all the Antiguans who helped make this collection possible. Margo Davis Discover All American
Sandra Tamos
Sandra Tamos
Lithuania
1989
Since my childhood I was attracted to visual arts, painting mostly. I had a dream to become a fashion costume designer when I grow up. When I was 14 things changed. I didn’t lose my passion for painting, but the camera my dad gave me drew me into photography. Since then I started taking self-portraits and gained some photography experience. Later I started reading books about photography and wasn’t taking any pictures for the time being. When I was 18 I bought my first digital camera and started taking pictures of nature. I became addicted to macrophotography, as the camera revealed worlds unseen by a naked eye. When I graduated from school I studied, Technology of photography at Vilnius University of Applied Engineering Sciences, and obtained a Photo Journalist bachelor degree. In photography my most beloved avenues are portrait and dance photography, especially ballet. Ballet for me is something above reality, something spiritual, fantastic. In photos I try to show ballet, the way I see and feel it. I try to create pictures which remind fairy tales or dreams, which look out of this world.All about Sandra Tamos:AAP: When did you realize you wanted to be a photographer?Before graduating, as I remember. It's hard to say what led me to like it. it simply drew me. I never wanted to, but I suppose it was my destiny to become a photographer.AAP: Where did you study photography?Vilnius College of Technologies and Design, Lithuania.AAP:Do you have a mentor?NoAAP: How long have you been a photographer?Since my first shot, five years aproximatelyAAP: Do you remember your first shot? What was it?The first digital photo was a dandelion fluff with water drops. However my absolutely first picture was self-portrait, photographed with old russian film camera, when I was 14.AAP: What or who inspires you?Little bits of everything, I would have to write a book to metnion everything what inspires me, so I will save your time and will only mention few key sources of inspiration. Life, from germination/birth to blossom and so on. Water, in all forms. Fog, tiny drops on leaves or spider web, rain, ponds, rivers.AAP: How could you describe your style?Sensual, mystical, darkly romantic.AAP: What kind of gear do you use? Camera, lens, digital, film?I use Pentax K-5 digital camera, and my favorite lenes are SMC Pentax A 50 f/1,7 and Sigma 30 f/1,4.AAP: Do you spend a lot of time editing your images?Yes, it takes skill and time to turn diamonds into brilliants, same with photos. But I enjoy the process so I dont mind if it takes time.AAP: Favorite(s) photographer(s)?Too many to mention all of them. Lately especially admire Gregory Colbert creation.AAP: What advice would you give a young photographer?Learn how to operate the camera perfectly, theres nothing worse than perfect moment slipping away, or when a moment that was felt right for a perfect picture, ends in dissapointment of failing to freeze it in camera, when it simply doesnt look the way it had to and the way it was perceived.AAP: What mistake should a young photographer avoid?Loosing faith, should be avoided.
Etinosa Yvonne
Etinosa Yvonne
Nigeria
1989
Etinosa Yvonne (b. 1989) was born and brought up in Nigeria. She works with various art forms including photos and videos. In 2015, while on a journey to self-discovery, Etinosa laid her hands on a camera for the first time. With no understanding of how to harness the potential of the camera and unaware of her talent, she continued working fulltime and learning diligently up until 2017, when she took a leap of faith resigned from her job and decided to go into photography fulltime. Since 2017, Etinosa's works have been shown in various local and international exhibitions. She has been a part of various lab programs, trainings, portfolio reviews and has recently been awarded a residency at Gasworks in London. Etinosa is one of six talents selected for the 2020 cycle of the World Press Photo 6*6 Global talent in Africa. Her particular attention to social issues led to a special commission by the United Nations Population Fund (UNFPA), New York in 2019. She has also collaborated with several institutions including, Welcome Trust, UK, ActionAids UK, Save The Children UK, Obama Foundation amongst others. Her works have been published in several international publications. Etinosa's style leverages on the power of storytelling to raise awareness, educate, inform, question and create expression. She continues to seek new ways to push the boundaries of storytelling. Etinosa currently works and resides in Abuja, Nigeria.
Anastasia Sierra
Anastasia Sierra
United States
Anastasia Sierra is a photographer based in Cambridge, MA. Her work explores the themes of motherhood, womanhood, and the body from a feminist perspective. Sierra’s photographs have been shown in solo and group exhibitions at the Griffin Museum of Photography, Danforth Art Museum, Emerson Contemporary Gallery, Photographic Resource Center, Vermont Center of Photography, Kathryn Schulz Gallery, and Soho Gallery in New York. Her work has been supported by grants and awards from the Cambridge Art Association, Photographic Resource Center and Griffin Museum of Photography. Sierra’s work has been featured in numerous publications, including Lenscratch, Lensculture, Musée Magazine, Artscope Magazine and What Will You Remember. Sierra holds a BA in Linguistics and is currently an MFA candidate at the Massachusetts College of Art and Design.
Michael Nguyen
Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Maren Elize Klemp
Maren Elize Klemp
Norway
"I grew up in a small town outside of Oslo, and started photography when I was a teenager. My father bought me my first camera when I was seventeen, and I immediately knew that I wanted to become a photographer. Writing was one of my passions in this period of my life, but I also was searching for a way to express myself visually. I had no talent for either painting and drawing, so photography naturally became the right medium for me. Unfortunately I dropped out of high school, but was lucky enough to be offered an internship as a photographer in the local newspaper. I learned a lot during this period, but I quickly discovered that I was most drawn to the field of fine art photography rather than photo journalism. After about six moths in the newspaper I started to study fine art photography under professor Robert Meyer at Robert Meyer Kunsthøgskole in Oslo, and I have been a fine art photographer ever since. In 2014 I traveled to Charleston, South Carolina to work on my first book together with photographer and professor, Jose' Escobar. He discovered my work on Flickr, and asked if I wanted to collaborate on a book project. The book is called 'Between Intervals' and is a visual representation of conditions people suffering from mental illness can experience. My work has also been shown both in solo and group exhibitions in Oslo, Norway."
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Exclusive Interview with Josh S. Rose
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Interview with Maureen Ruddy Burkhart
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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.
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