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Win a Solo Exhibition this February. Juror: Harvey Stein
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David Stewart
David Stewart
David Stewart

David Stewart

Country: United Kingdom
Birth: 1958

David Stewart began his career by photographing punk bands including The Clash and The Ramones.
He also took to photographing the passing parade of colourful characters on Morecambe Promenade with squirrel monkey's Joey and Queenie.
After graduating at Blackpool and The Fylde College, Stewart moved to London in 1981 where he persued a career in photography, rapidly establishing himself as one of the UK's most highly accomplished photographers.
In 1995 he directed and produced a short film "Cabbage" which was nominated for a BAFTA. Accompanying the film is a series of surrealist photographic images in tribute to the much-maligned vegetable.
In 2001 he published a body of work titled Fogeys comprising of kitsch, cartoon-like photographs of people growing old disgracefully.
Exhibited at the Institute of Contemporary Art London "Fogeys" won a Silver Award at the Art Directors Club of New York.
The book "Thrice Removed" was published in 2009. While still singular and mischievous, the book includes works that are more muted in colour and personal in tone. The projects "Indecision" and "Intension" return once again to the surreal providing an intriguing study of young women. "Teenage Pre-occupation" which takes a look at teenagers and the changes they go through and was published in May 2013. The short film "Stray" 2013 was screened at the London Short Film festival.
Stewart won The Taylor Wessing portrait prize in 2015.
He had been previously shortlisted for the Photographic Portrait Prize in 2007 and accepted a further fourteen times between 1995 and 2012 each time exhibited at the National Portrait Gallery, London.
In 2016 Stewart was presented with The Royal Photographic Society award for outstanding achievement and excellence in the fields of Editorial, Advertising and Fashion Photography. 2018 saw the publication of "Paid Content" which uses the setting of the advertising agency to explore the changing face of workplace culture and the wider dehumanising effect that is occurring due to the growth of large, faceless corporations and globalisation.
2020 saw the publication of "Geoffrey Valentine" which presents unflinching portraits of his dead father lying in a coffin in a chapel of rest.

Geoffrey Valentine at Wren London

Agency

Wren Agency

Gallery

Wren London

Website

www.davidstewwwart.com

 

Inspiring Portfolios

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

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
Tod Papageorge
Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
Marcel Rebro
Marcel Rebro
Slovakia
1968
The first time I smelled developer was in 1985 when I was memeber of National Sport Center (Parachuting) in Lučenec. With the tiny Smena 8M camera, I was trying to capture my parachuting colleagues when descending, jumping out of a plane, or even during the free fall. Burning glass and red light became my loyal friends. Later, with the switch to colour film, I, in turn, became a friend of photo labs. In 2001, I switched to digital and after numerous changes of hardware I remained loyal to Olympus mirrorless. Paradoxically, this change led to a gradual return to black and white photography and a classic photo film. It started with 'ordinary' black and white documentary and street photos, and then along came karate, landscapes, and infrared photography. Today, I work almost exclusively in black and white. When taking a black and white photo, I don't need to care too much about balancing the white or about colour profiles in printing and I can enjoy the actual process of taking photographs much more. Black and white photography is in fact quite liberating. Genres that I specialise in are simultaneously my hobbies - karate, skiing, backcountry skiing, scuba diving, mountain hiking, and travelling.
Wang Qingsong
Wang Qingsong
China
1966
Born in Daqing, Heilongjiang Province, China 1966 1993: Oil Painting Department of Sichuan Academy of Fine Arts, Sichuan, China Lives and works in Beijing since 1993 Awards: 2006 Outreach Award from Rencontres de la Photographie, Arles, France Wang Qingsong graduated from the Oil Painting Department of the Sichuan Academy of Fine Arts and currently lives and works in Beijing. After starting his career as an oil painter engaged in the Gaudi movement, he began taking highly staged photographs that explore the influence of Western consumer culture in China. In more recent works he has explored political and social themes including the struggles of the migrant population and Chinese diplomacy. His photographs are known for their massive scale, deep symbolism and careful staging, which can sometimes take several weeks and involve up to 300 extras. Although photography is his main medium, he has explored performance and video art in more recent years. Qingsong’s work has been presented at prestigious galleries, museums and art fairs across the globe including the 55th Venice Biennale China Pavillion (Venice), the International Centre of Photography (NY), the Hammer Museum (Los Angeles), the Victoria and Albert Museum (London), the 42nd Rencontres de la Photographie (Arles), the Daegu Art Museum (Seoul), MOCA (Taipei), the Rockbund Art Museum (Shanghai) and the Mori Art Museum (Tokyo). Wang Qingsong is a contemporary Chinese artist whose large-format photographs address the rapidly changing society of China. His photographs, appearing at first humorous and ironic, have a much deeper message. Critical of the proliferation of Western consumerism in China, his, Competition (2004), depicts the artist standing with a megaphone in front of a city hall covered in advertisements for brands such as Citibank, Starbucks, and Art Basel. "I think it is very meaningless if an artist only creates art for art's sake," he said. "I think it would be absurd for an artist to ignore what's going on in society." Born in 1966 in Heilongjiang Province, China, Wang studied at the Sichuan Academy of Fine Arts. Although he was trained as a painter, Wang began taking photographs in the 1990s as a way to better document the tension of cultural shifts. The artist's works have been in exhibitions at the Hammer Museum in Los Angeles and the National Gallery of Victoria in Melbourne. Wang currently lives and works in Beijing, China. Source: Artnet
Nazanin Alipour Jeddi
Nazanin Alipour Jeddi
Iran/United States
Nazanin Alipour Jeddi, known as Sitaaj, is a self-taught freelance photographer and translator born in Tehran, Iran, and currently residing in the United States. She specializes in capturing the nuanced experiences of women, exploring themes of gender, identity, and cultural dynamics. Sitaaj's photography has been exhibited internationally and recognized with multiple awards. Her work highlights the profound interplay between women's experiences and the cultural systems surrounding them, fostering dialogue and understanding through her art. In addition to her photography, Sitaaj is an accomplished translator. Her fifth translated book, Howto Be an Artist, was recently published in Tehran. Through her creative work and translations, Sitaaj seeks to inspire and empower individuals to pursue their passions, regardless of their backgrounds or circumstances. Photography remains her true passion, providing a medium to tell compelling and meaningful stories. Lingering Shadows The photography series "Lingering Shadows" is an attempt to capture the simple yet complex and hidden moments that women experience in their everyday lives. These images use the color blue to emphasize the often invisible fatigue—an endless cycle of tasks that, despite their importance, sometimes feel futile and unproductive. The dominant presence of blue conveys a deep sense of coldness and isolation. The goal of this series is to invite viewers to rethink the aspects of women's lives that often go unnoticed. Simple moments, such as drinking tea, preparing food, or a brief pause amid the daily chaos, take on new meaning in these images, representing the emptiness, futility, and underlying complexities in these seemingly ordinary experiences. These photos are not only a personal narrative but also a reflection of the collective experience of women around the world.
Norman Parkinson
Norman Parkinson
United Kingdom
1913 | † 1990
Sir Norman Parkinson, CBE (21 April 1913 – 15 February 1990) was a celebrated English portrait and fashion photographer.Parkinson (birth name Ronald William Parkinson Smith) was born in London, and educated at Westminster School. He began his career in 1931 as an apprentice to the court photographers Speaight and Sons Ltd. In 1934 he opened his own studio together with Norman Kibblewhite. From 1935 to 1940 he worked for Harper's Bazaar and The Bystander magazines. During the Second World War he served as a reconnaissance photographer over France for the Royal Air Force. In 1947 he married the actress and model Wenda Rogerson. From 1945 to 1960 he was employed as a portrait and fashion photographer for Vogue. From 1960 to 1964 he was an Associate Contributing Editor of Queen magazine. In 1963 he moved to Tobago, although frequently returned to London, and from 1964 until his death he worked as a freelance photographer.Parkinson always maintained he was a craftsman and not an artist. From his early days as a photographer up to his death he remained one of the foremost British portrait and fashion photographers. His work, following the lead of Martin Munkacsi at Harper's Bazaar, revolutionised the world of British fashion photography in the '40s by bringing his models from the rigid studio environment into a far more dynamic outdoor setting. Humour played a central role in many of his photographs which often included himself. As well as magazine work he also created celebrated calendars featuring glamorous young women.(Source: en.wikipedia.org)
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.
Dale Odell
Dale Odell
United States
Dale O'Dell lives in Prescott, Arizona and is a professional photographer and digital artist. He studied photography and philosophy in college and earned a Bachelor's of Science degree in Photography in 1982 from Sam Houston State University in Huntsville, Texas. Since 1979 he has exhibited in over two-hundred group and solo shows, his works have been exhibited and published internationally and he's written for most of the leading photographic magazines and journals. He is a consummate experimenter and innovator and works with diverse subjects in a variety of styles. He has published nineteen art books and is currently at work on number twenty. He uses modern digital technologies to create artwork in a variety of styles. “Using the power of technology and an active imagination there are few limitations. I've produced straight documentary-style photos, advertising, editorial illustration, street photography, portraiture, landscape, infrared, night and astronomical photography as well as abstract-expressionism, impressionism and surrealism. You won't find me making the same image over and over.” Despite their photographic origins, Dale's images are best described as 'photo/digital artworks' and are not all straight photographs. He has fully embraced the digital revolution of photography to explore expression beyond traditional photographic limitations. Zen Cairns A cairn is a human-made pile (or stack) of stones. The word cairn comes from the Scottish Gaelic: càrn. Cairns are used for a variety of purposes. In modern times, cairns are often erected as landmarks, a use they have had since ancient times and cairns are used as trail markers in many parts of the world. They vary in size from small stone markers to entire artificial hills, and in complexity from loose conical rock piles to delicately balanced sculptures and elaborate feats of megalithic engineering. Cairns may be painted or otherwise decorated, whether for increased visibility or for religious reasons. The Zen Cairns came into existence as a result of researching what other photographers had done with the cairn as subject. I look at others' works to see what's already been done with the subject. This helps me to avoid repeating what others have done and (hopefully) forge my own path of originality with the subject. As I studied the myriad of cairn photos online I saw some that made me look twice and carefully consider the laws of gravity. While I saw many examples of true 'balance artistry' when stacks of rocks seemed to be magically balanced for real, I also saw images that really did defy the law of gravity. These were 'impossible' stacks of rocks that, at first glance, looked 'real,' but they were, in fact, held together with metal rods or glue. These were probable yet impossible cairns. A quick look at these could easily fool the viewer. Looking at the probable yet impossible cairns I thought I could create a series of physically impossible yet visually probable cairns - after all, I do have Photoshop. Almost immediately I could see the finished images in my minds-eye. I went to my sketchbook and very quickly did a series of drawings - which came to me full-blown, complete with titles! I already had the river rocks in my studio so I photographed them all twice, with lighting from two different directions, allowing me to use them in different ways in Photoshop yet keep a consistent direction of light. With the image fully-formed in my mind's eye I created a portrait-studio type background which would be lit oppositely from the rocks. I did a quick version of this background as a proof-of-concept (which worked) and then went to various paint and lighting programs to create the actual background. Interestingly, each new and improved background failed to work in the image and I ultimately ended up using the original proof-of-concept background. Sometimes you get it right the first time but you've got to do the extra work anyway so you know the first one really does work and you didn't quit too soon. For consistency I used the same background for all ten images. Using my sketches as guides I assembled each image from individually photographed river rocks. I added shadows to simulate what it would really look like as a set in the studio. I sharpened all the rocks to enhance their texture and softened the background to create a more three-dimensional effect. I worked in black and white to emulate the luminosity of classic B&W still-life prints from the darkroom. It is my hope that the direction of light, shadows and texture induces an emotional response of 'reality' in the viewer before the intellect of analysis informs them, 'this is not real.'
Anna Hayat and Slava Pirsky
Anna Hayat and Slava Pirsky
Israel
We are Anna Hayat (born 1974) and Slava Pirsky (born 1965), originally from the Soviet Union. Each of us decided to start a new life in Israel in the early 90s, in search of new horizons. Fate brought us to Jerusalem through different paths, where we lived for over 20 years and now find joy in a small town nearby. We met in 1999 and instantly felt a special connection, as if our shared passion for photography brought us closer. In 2000, we became proud parents of an exquisite daughter whom we started photographing from her very birth. Since then, we have become an inseparable team and partners in the world of photography and art. For over 20 years, we have actively collaborated on joint photography projects. Our creative process revolves around analog photography, primarily using old Polaroid large-format black and white negative plates. Despite the discontinuation of production of these films in 2008, we use expired films to create unique and emotive works of art. We capture images using both a large studio camera and small field Polaroid cameras. The slow shooting process is of utmost importance to us, as it imparts a special depth to our works. In a way, the negative itself becomes another partner in our process. We appreciate the unpredictability of old negatives, which gives our photographs a distinct character, a touch of poetry, and a timeless feeling that is crucial to our work. Our latest project reflects our emotions and pain caused by Russia's treacherous aggression. For this series, we ventured into a mixed technique for the first time, tearing and cutting our works, stitching them anew, adding patches and seams. The project was showcased at the Ramlah Museum and immediately after at the KyotoGraphie International Photography Festival in Japan.
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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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