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Win a Solo Exhibition this February. Juror: Harvey Stein
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Sirli Raitma
Sirli Raitma
Sirli Raitma

Sirli Raitma

Country: Estonia
Birth: 1975

Sirli Raitma is a London based photographer. She was born and grew up in Suure-Jaani in Estonia. Sirli's images span portraiture, landscapes and interiors, but portraiture - especially involving ambiguity via costume or displacement - is her heartland.

Project - Eha

EHA is a series of portraits of my mother, portrayed in a series of unusual situations, poses and attire. Eha was born in Estonia in 1950. Widowed, suffering from epilepsy and lacking great command of English, Eha stayed tightly involved in our lives. In 2015 Eha began to suffer from depression. Life became bleaker. Something had to be done. I came up with a plan to give her something new to focus on, beyond her new procession of doctor's appointments and medications. The 'EHA' project was born.

'Eha revealed herself to be a natural model, happy to play along with my increasingly imaginative visual fantasies. The 'EHA' project has had an effect on both of us. It is encouraging to see that the results for us are also having a resonance for others. The project has featured in UK and Estonian magazines. The feedback from readers has been fantastic and is consistent it that it has prompted many to look at their own family situations and how they treat each other.'

Websites

www.sirliraitma.com

www.instagram.com/sirliraitma

 

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Roberta Dall’Alba
Roberta Dall'Alba
Italy
1992
My name is Roberta Dall'Alba, and I'm a passionate food and travel photographer. When I work with companies my goal is to create for them authentic images that truly connect with people and spark a desire for their products and services. Photography brings immense fulfillment to my life because it allows me to express myself, capture emotions, and tell stories. My deep appreciation for aesthetics and attention to details and feelings helps me create images that are not only beautiful but also meaningful.. Through my photography, I strive to show others the beauty of the world, inspiring happiness and appreciation for our surroundings. By doing what I do, I hope to encourage a sense of wonder and connection that can make the world a better place. I am multi-passionate and cannot stand the idea of dedicating my time to only one type of photography, which is why I love capturing a wide range of subjects
Max Yavno
Max Yavno
United States
1911 | † 1985
Max Yavno (1911-1985) was a photographer who specialized in street scenes, especially in Los Angeles and San Francisco, California. The son of Russian immigrants, Yavno was born in New York on April 26, 1911. He had one sister. He was married at age 19 and divorced three years later. He died in April 1985 of complications resulting from a fall in a shower. Yavno worked as a Wall Street messenger while attending City College of New York at night. He attended the graduate school of political economics at Columbia University and worked in the Stock Exchange before becoming a social worker in 1935. He did photography for the Works Progress Administration from 1936 to 1942. He was president of the Photo League in 1938 and 1939. Yavno was in the U.S. Air Force from 1942 to 1945, after which he moved to San Francisco and began specializing in urban-landscape photography. History professor Constance B. Schulz said of him: "For financial reasons he worked as a commercial advertising photographer for the next twenty years (1954–75), creating finely crafted still lifes that appeared in Vogue and Harper's Bazaar. He returned to artistic landscape photography in the 1970s, when his introspective approach found a more appreciative audience. Funding from the National Endowment for the Arts enabled him to travel to Egypt and Israel in 1979." He also captured a pre-Dodgers Chavez Ravine, a giant plaster leg on top of a building in West Los Angeles and a "nostalgic" shot of a cable car being turned around at Powell and Market streets in San Francisco. His noted photograph of a crowd watching "sun-worshipping bodybuilders at Muscle Beach in Venice" sold at auction in 1984 for almost $4,000. He said he had spent three Sundays at the beach before the subjects "stopped flexing for his camera and resumed posing for each other." His obituary in the Los Angeles Times said that: Melrose Avenue photo gallery owner G. Ray Hawkins, who represented Yavno and exhibited his works, called him a "social documentarian" and noted that he had "a very special ability for combining composition and content while capturing his social vignettes." Photographer Edward Steichen selected twenty of Yavno's prints for the permanent collection at New York's Museum of Modern Art in 1950, and the next year Yavno won a Guggenheim Fellowship. Source: Wikipedia Yavno graduated from City College of New York in 1932 and earned a graduate degree in business administration from Columbia University in 1933. Originally employed as a social worker for the New York Home Relief Bureau (1935), he was later hired by the Works Progress Administration to photograph city locations for use in theater set design (1936-42). Yavno joined the Photo League in the late 1930s, serving as president in 1938-39 and participating in several exhibitions. He became friends with Consuelo Kanaga, who mentored him in his photographic work. He worked with Aaron Siskind on his unfinished project The Most Crowded Block in the World (1941). Yavno was drafted into the Army Air Force that year, but remained on detached service in New York. He later moved to California, where he provided illustrative photographs for two books: The San Francisco Book, with Herb Caenn (1948) and The Los Angeles Book, with Lee Shippey (1950). In the mid-seventies, Yavno resumed noncommercial photography, expanding his terrain from the streets of New York City and Los Angeles to those of Jerusalem and Cairo. Source: The Jewish Museum
Garry Winogrand
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. His images are often confrontational and take moments out of context, positioning Winogrand as an outside observer of human gestures and actions. Among Winogrand’s favorite subjects were women, and he described himself as being “compulsively interested in women” and having “compulsively photographed women.” A large part of Winogrand’s images in the collection of the MoCP form part of the Women are Beautiful portfolio (1981), which was initially published as a monograph in 1975. For the monograph, John Szarkowski, curator of photography at the Museum of Modern Art in New York at the time, selected eighty-five images featuring women from hundreds of photographs by Winogrand. The resulting book offers a random collection of women caught on the street, in parks, getting into cars, at parties, marching in parades, skinny-dipping in ponds, etc. The images capture not only Winogrand’s attraction to the women he photographed, but also the styles, activities, gestures, and energies pertaining to gender in the 1960s and 1970s, an era of transition during second-wave feminism and the sexual revolution. In the monograph and in the portfolio, Winogrand wrote: “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”Source: Museum of Contemporary Photography
Daniel Sackheim
Daniel Sackheim
United States
1962
Daniel Sackheim, born in 1962 in Los Angeles, California, is a photographer and film and television director and producer living and working in Los Angeles. As a director, Sackheim is best known for his work on multiple highly acclaimed television series. Some of his directorial credits include: Game of Thrones, True Detective, The Americans, The Walking Dead, Jack Ryan, Servant, Better Call Saul, The Leftovers, The Man in the High Castle, Ozark, and more recently Lovecraft Country. He has received multiple Emmy nominations, more recently in 2017 for directing the Ozark episode "Tonight We Improvise," which is a category he won in 1997 for an episode of NYPD Blue. In addition to his television work, Sackheim directed the Sony feature film, The Glass House, starring Leelee Sobieski, Diane Lane, and Stellan Skarsgard, and he produced the film, The X-Files: Fight the Future, for 20th Century Fox. Alongside fellow HBO alum Tony To, Sackheim is the co-founder of Bedrock Entertainment, which produces prestige content programming streamers and premium cable platforms. Sackheim's photographic practice translates the filmic league of his career into still photography that explores the nature of mystery, urban environments, and narrative ambiguity. His attraction to spaces dominated by shadows stems from his love of film noir and its predilection for heightened reality. A member of a number of photography centers, he is also a curator for www.streetfinder.site which is a growing community for street photography. Statement A camera is like a keyhole through which one can peer into dark spaces in search of a hidden narrative I've come to define as the unknown. Using photography, I am endeavoring to shine a light on that narrative, bringing it into sharper relief. My work occupies a space dominated by shadows. This attraction to the dark and ambiguous stems from my love of film noir and the heightened reality this filmic language personifies. Like noir, my photography aims to access the subconscious, exploring a world of omnipresent solitude and alienation. Article Exclusive Interview with Daniel Sackheim
Mario Algaze
Mario Algaze
Cuba / United States
1947
Mario Algaze (born 1947 in Havana, Cuba) is a Cuban-American photographer whose work celebrates the culture of Latin America. At the age of thirteen he was forced to exile Cuba in 1960 and relocated to Miami, Florida. Miami offered a rich cultural mecca and a vibrant melting pot of culture which encouraged him to travel to Central and South America where he worked as a freelance photojournalist for national and international publications. These trips allowed him a glimpse of belonging within a familiar culture. In finding his identity after exile, he began photographing Latin America in the 1970’s while reconnecting with the feeling of home. His photographs embody the everyday of Latin life. Between his travels in the late 70’s, Algaze studied visual art at Miami Dade College. Algaze’s masterful command of light illuminates his street scenes that detail the struggles and victories of Latin culture. Mario Algaze is the recipient of various acclaimed awards, including the Florida Artist Fellowship from the Florida Arts Council (1985), the Cintas Foundation Fellowship in Photography (1991), the Visual Arts Fellowship and the SAF Artist Fellowship sponsored by the National Endowment for the Arts. In 1992, he received the National Endowment for the Arts Fellowship in Photography. A retrospective collection of his work is showcased in the important monograph, Mario Algaze: Portfolio, published by Di Puglia Publisher, 2010. Additional monographs by the artist include, Mario Algaze: Portafolio Latinamericano, Mario Algaze: Cuba 1999-2000, and A Respect for Light: The Latin American Photographs: 1974-2008. Algaze's documentary work is highly sought after by institutions and collectors worldwide. His work can be found in permanent collections at every corner of the world including the Museum of Fine Arts, Houston; Museo Tamayo, Mexico City; Santa Barbara Museum; Museum of Photographic Arts, San Diego; Victoria and Albert Museum, London, DePaul University, Chicago and the Cleveland Museum of Art.Source: PDNB Gallery Mario Algaze was born in Havana, Cuba but emigrated to the United States in 1960, settling in Miami, Florida. In 1971, at the age of 24, he began a career as a freelance photojournalist. Although Algaze left Cuba as a teenager he has frequently turned to Latin America as the subject of his photographs, traveling extensively throughout the region. In his carefully composed black and white photographs, he captures people alone or in small groups on the streets and in cafes and parks. Many of his photographs of these everyday settings are infused with a soft light and marked by shadows, giving them a serene or mysterious quality, or evoking the passage of time. The region's conflicts and political activities, frequent subjects of photojournalism, are largely absent in his imagery; instead, he lends quiet insight into the cultural diversity of Latin America and the shape of daily life in countries as far spread as Mexico, Ecuador, and Argentina.Source: Museum of Contemporary Photography
Shomei Tomatsu
Shomei Tomatsu
Japan
1930 | † 2012
Shomei Tomatsu (東松 照明, Tōmatsu Shōmei) was a Japanese photographer, primarily known for his images that depict the impact of World War II on Japan and the subsequent occupation of U.S. forces. As one of the leading postwar photographers, Tomatsu is attributed with influencing the younger generations of photographers including those associated with the magazine Provoke (Takuma Nakahira and Daido Moriyama). Tomatsu was born in Nagoya in 1930. As an adolescent during World War II, he was mobilized to support Japan's war effort. Like many Japanese students his age, he was sent to work at a steel factory and underwent incessant conditioning intended to instill fear and hatred towards the British and Americans. Once the war ended and Allied troops took over numerous Japanese cities, Tomatsu interacted with Americans firsthand and found that his preconceptions of them were not entirely salient. At the time Tomatsu's contempt for the violence and crimes committed by these soldiers was complicated by individual acts of kindness he received from them – he simultaneously loved and hated their presence. These interactions, which he later described as among the most formative memories of his childhood, initiated his long-standing fixation on and feelings of ambivalence towards the subject of American soldiers. If I had seven lives, I’d be a photographer in every one. -- Shomei Tomatsu Tomatsu embraced photography while an economics student at Aichi University. While still in university, his photographs were shown frequently in monthly amateur competitions by Camera magazine and received recognition from Ihei Kimura and Ken Domon. After graduating in 1954, he joined Iwanami Shashin Bunko, through an introduction made by Aichi University professor Mataroku Kumaza. Tomatsu contributed photographs to the issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for two years before leaving to pursue freelance work. In 1957, Tomatsu participated in the exhibition Eyes of Ten where he displayed his series Barde Children’s School; he was featured in the exhibit twice more when it was held again in 1958 and 1959. After his third showing, Tomatsu established the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno. Towards the end of the 1950s, Tomatsu began photographing Japanese towns with major American bases, a project that would span over 10 years. Tomatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his series Home in Photo Art. In contrast to his earlier style which resembled traditional photojournalism, Tomatsu was beginning to develop a highly expressionistic form of image-taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tomatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were published in Asahi Camera. In addition to Asahi Camera and Photo Art, Tomatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he edited a monthly series titled I am King (1964); for Camera Mainichi, he printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966. Tomatsu first went to Okinawa to photograph the American bases under the auspices of Asahi Camera in 1969. The images he captured formed the book Okinawa, Okinawa Okinawa which served as an explicit critique of the American air force. On the cover, an anti-base slogan verbalizing his disdain with the overwhelming U.S. presence in Okinawa reads: "The bases are not in Okinawa; Okinawa is in the bases". This sentiment was foreshadowed in Tomatsu's earlier writings, like his 1964 essay for Camera Manichi in which he stated "it would not be strange to call [Japan] the State of Japan in the United States of America. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives." Tomatsu visited Okinawa three more times before finally moving to Naha in 1972. While in Okinawa, he traveled to various remote islands including Iriomote and Hateruma; he spent seven months on Miyakojima where he organized a study group called “Miyako University” aimed at mentoring young Miyako residents. Combined with his images taken in Southeast Asia, Tomatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil of the Sun (1975). Although he had come to Okinawa in order to witness its return to Japanese territory, Pencil of the Sun revealed a considerable shift away from the subject of military bases that he pursued throughout 1960s. He credited a diminishing interest in the American armed forces, in addition to the allure of Okinawa's brilliantly colored landscapes, for his adoption of color photography. In 1974, Tomatsu returned to Tokyo where he set up Workshop Photo School, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the photo magazine Workshop. Tomatsu's dedication to nurturing the photography community in Japan was also evidenced in his role as a juror for the Southern Japan Photography Exhibition and his membership in the Photographic Society of Japan's committee to create a national museum of photography. The efforts of this group led to the establishment of photography departments at major national museums, such as Yokohama Museum of Art and the National Museum of Modern Art, Tokyo, as well as the first photography museum in Japan, Tokyo Photographic Art Museum. In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection. -- Shomei Tomatsu Tomatsu took part in his first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Japanese photographers undertaken outside of Japan. It traveled to eight other locations in the United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Art Museum. By 1980, Tomatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed of his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum. In the early 1980s, Tomatsu had his first international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at thirty venues over three years. He was also included in notable international group exhibitions regarding Japanese art: in 1985, he was one of the main artists in Black Sun: The Eyes of Four first shown at the Museum of Modern Art, Oxford; in 1994, he was featured in the seminal show Japanese Art After 1945: Scream Against the Sky at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art. In the last decade of his career, Tomatsu embarked on a new and comprehensive series of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after the area it was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007). Tomatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum circuit. Skin of the Nation was organized by the San Francisco Museum of Modern Art, and curated by Sandra S. Phillips and the photographer and writer Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Japan Society (New York); National Gallery of Canada, Corcoran Museum of Art, San Francisco Museum of Modern Art, and Fotomuseum Winterthur. In 2010 Tomatsu moved to Okinawa permanently, where he held the final exhibition during his lifetime, Tomatsu Shomei and Okinawa - Love Letter to the Sun (2011). He succumbed to pneumonia on 14 December 2012 (although this was not publicly announced until January 2013).Source: Wikipedia
Marcos Zegers
Marcos Zegers
Chile
1987
"I am a Chilean photographer, with a background in architecture and with a strong interest in geopolitical, territorial and migration conflicts. My work focuses on long-term documentary projects in which I illustrate urgent situations through a careful and studied proposal. My work has been exhibited in Chile (Animal, Ekho Gallery), and fairs in London, Paris, Shanghai and New York and I participated in photo festivals as PhotoEspaña (Esp), Format (UK) and FIFV (Chile). Recently my documentary project was published on The New York Times which gave me the opportunity to start working as a freelancer for the same newspaper. I teach at the University Diego Portales in Chile where I currently live." About Mining and Exodus in the Atacama Desert This visual essay is the narrative of an endless journey through the desert and the Andes Highlands in Bolivia and Chile. A paused and deep journey through places full of memory. What appears to be photographs of elements randomly dispersed throughout the territory, when consciously grouped together, are transformed into a linear narrative linked to the extractive era. Like a map that is revealed in parts, a harsh story uncovers the relationship between mining activities and cultural displacements, all united under a common element in dispute, water. Following the course of the extractive history of colonial Latin America, what was rubber in Iquitos, cane in the Caribbean, gold in Guanajuato, or silver in Potosi, in Chile was the nitrate (saltpeter). For almost two centuries, the Atacama Desert has been a constant source of mineral resource extraction. The "Saltpetre Offices" has left the mark of an era of wealth and exploitation. Today the situation repeats itself as an exact cycle: what was nitrate, passed to copper, and today, it turns to lithium. Right in the middle of this extractive history are the woman and the man who inhabited the territory. On the one hand, there is the Aymara woman who walks and grazes the cattle in the Andean mountain range. She has not seen the face of the mining company. However, they critically meet in the use of the same resource: water. The excessive water consumption by mining companies has dried the soil, making livestock and agriculture unviable. Consequently, the highlands man has been forced to go down to work in the city, where possible, the job to which he aspires, is precisely in mining. This uncovers a vicious circle which is greatly enhanced by the government's lack of attention to these isolated areas. The risk is profound. The desert has not been completely unravelled. It continues to have lots of minerals, and at the same time, it stalks a climate change that will not stop any time soon. In Chile the water is sold, the water rights belong to private. This situation has alarmed the inhabitants of this territory, amongst organizations and activists who wage real legal battles in the courts. This visual essay, far from addressing the issue on all its extents, seeks to contribute to the latent conversation about extractive practices and the current economic model in Chile. To bring back this apparently scenic desert to an urgent reality, promoting a reflection that contributes to the appreciation of rural territory and its culture.
Roberta Vagliani
Roberta Vagliani
Italy
1987
Roberta Vagliani (born 1987) is a photographer residing in a small town in the province of Mantua, Canneto s/O. The leitmotif of her shots revolves around three fundamental aspects: Emotion, Love, and Simplicity. She embarked on her photographic journey at the age of 17, delving into the realms of reportage and visual communication. For her, traveling signifies discovery and the longing to capture the emotions she experiences, aiming to evoke them in those who view her work. Photography serves as the medium through which she narrates, wordlessly, the scenes her eyes behold.
Davide Bertuccio
Davide Bertuccio
Italy
1991
Davide was born in Messina in 1991. He is a photojournalist based in Milan. He graduated with honors in 2016 at IED (Istituto Europeo di Design) at the school of visual arts in photography. Since the end of 2016, he focused on the theme of globalization, looking for stories that would give voice to the small realities crushed by that indefatigable desire for equality. In 2019 He decided to follow his passion for science and environmental problems with the realization of a work about the problem of plastic pollution in the Mediterranean Sea. Davide, inserted in 2014 among the 10 best under 25 Italian talents and nominated in 2019 by 6X6 World Press Photo Global Talent Program, has been published by National Geographic USA, National Geographic Italia, Il Reportage and his works received national and international awards. Accross the River's Flow Saxons are a community with German roots. Since XI century, together with Hungarians and Romanians, they’ve been living in the green heart of Romania. From this very land, a major migration is now taking place which marks the decline of centuries of history. Saxons are disappearing and their culture, their tongue and traditions along with them. “Across the river’s flow” aims to be a work about the disappearing of ethnic minorities, overwhelmed by the pace of modern life and by an ever-growing globalization. Saxons are an example of how authenticity is wiped out to make room for a fictitious daily routine and how entire ethnic groups and populations must surrender to outside forces such as racism.
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All About Photo Awards 2026
Win a Solo Exhibition in February
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Latest Interviews

Exclusive Interview with Marijn Fidder
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Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
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Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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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.
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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.
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Exclusive Interview with Ghawam Kouchaki
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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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Exclusive Interview with Alan Schaller About Irys
Interview
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
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© Fernando Morales Roca
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