All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Solo Exhibition Extended Deadline: November 22, 2024
Solo Exhibition Extended Deadline: November 22, 2024
  1. Home
  2. All Photographers
  3. Modern Photographers
  4. David Stewart
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

Andrea Torrei
© Andrea Torrei
Pieter Hugo
© Pieter Hugo
MD Saiful Amin
© MD Saiful Amin
Call for Entries
AAP Magazine #45 Travels
Publish your work in AAP Magazine and win $1,000 Cash Prizes
© Mahendra Bakle
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Joseph Podlesnik
Joseph Podlesnik
United States
1959
Joseph Podlesnik holds a BFA in drawing and painting from the University of Wisconsin-Milwaukee and an MFA in drawing and painting from Cornell University. He currently serves as Adjunct Faculty (online) for the Stockton University Visual Arts Program and Facilitator Lead for the Digital Photography Cornell Certificate Program. Podlesnik exhibits his photographs singly and in group shows, nationally and internationally. He resides in Phoenix, AZ. For Podlesnik, the camera lens depicts perspective too easily, which is why he captures and makes photographs which often frustrate readable perspectival space. For him, the photographic image is not only a window through which to see the visible world, but also a maker of flat surfaces which stunt or block logical space. He sees photography and pictures not only as documentation, but as commenting on or reenacting perception itself. The Pain, Boredom and Euphoria of Looking For the “The Pain, Boredom and Euphoria of Looking” exhibition, my intent is to select color and black and white photographs which involve some personal physical discomfort (while capturing the photographs), degrees of boredom (tolerating, organizing, and capturing a world full of redundant visual information) and the thrill and euphoria I experience while capturing photographs and exploring their effects in post- processing. The intent is to arrive at formal order, unity, mood, complexity, ambiguity, and in many cases engage the viewer in frame edge-to-frame edge visual activity.
Paul Crampton
Paul Crampton
Canada
1953
Paul Crampton is an internationally award winning Canadian photographer who tries to capture still life with a wide-angled story. His images are usually objects that are familiar and recognizable but are presented in such a way that makes the viewer want to know more. The name of each shot is as important as the image itself, and because the name is slightly cryptic, it holds the onlooker’s attention a little longer and makes them think "wider". The visual work should capture the interest of the patron for more than seven seconds and hopefully the name will extend that time through to the story behind the picture. All of the images are created with medium format B&W film and are developed and printed in the personal darkroom of the artist. Statement: When I sit down and quietly think about the balance in my life, there is a need to compartmentalize. There are days and weeks that things may skew positively or negatively but the important thing to remember is that you need to take stock of the bigger picture. Decide what makes you happy and focus on tipping the scale in that direction. Black and white photography has always made me happy. I shoot film and develop and print my images, which is an on-purpose choice to pace me through the magic. I sometimes equate this process to being a caring and responsible parent. To see and appreciate the result of your efforts can be very rewarding. Paul Crampton
Minor White
Minor White
United States
1908 | † 1976
Minor Martin White was an American photographer, theoretician, critic and educator. He combined an intense interest in how people viewed and understood photographs with a personal vision that was guided by a variety of spiritual and intellectual philosophies. Starting in Oregon in 1937 and continuing until he died in 1976, White made thousands of black-and-white and color photographs of landscapes, people and abstract subject matter, created with both technical mastery and a strong visual sense of light and shadow. He taught many classes, workshops and retreats on photography at the California School of Fine Arts, Rochester Institute of Technology, Massachusetts Institute of Technology, other schools, and in his own home. He lived much of his life as a closeted gay man, afraid to express himself publicly for fear of loss of his teaching jobs, and some of his most compelling images are figure studies of men whom he taught or with whom he had relationships. He helped start and for many years was editor of the photography magazine Aperture. After his death in 1976, White was hailed as one of America's greatest photographers. White was born in Minneapolis, Minnesota, the only child of Charles Henry White, a bookkeeper, and Florence May White, a dressmaker. His first name came from his great, great grandfather from the White family side, and his middle name was his mother's maiden name. During his early years he spent much of his time with his grandparents. His grandfather, George Martin, was an amateur photographer and gave White his first camera in 1915. As a child White enjoyed playing in the large garden at his grandparents' home, and this influenced his decision later on to study botany in college. White's parents went through a series of separations starting in 1916, and during those periods White lived with his mother and her parents. His parents reconciled for a while in 1922 and remained together until they divorced in 1929. By the time White graduated from high school he was already aware of his latent homosexuality. In 1927 he wrote about his feelings for men in his diary, and to his dismay his parents read his diary without his permission. After what he called a brief crisis period, during which he left home for the summer, he returned to live with his family while he started college. His parents never spoke of his homosexuality again. White entered the University of Minnesota in 1927 and majored in botany. By the time he should have graduated in 1931 he had not met the requirements for a science degree, and he left the university for a while. During this period he became very interested in writing, and he started a personal journal that he called "Memorable Fancies." In it he wrote poems, intimate thoughts about his life and his struggles with his sexuality, excerpts from letters that he wrote to others, occasional diary-like entries about his daily life, and, later on, extensive notes about his photography. He continued to fill the pages of his journal until he directed most of his energy into teaching around 1970. In 1932 White re-entered the university and studied both writing and botany. With his previous credits, he was able to graduate in 1934. The next year he took some graduate classes in botany, but after six months he decided that he lacked real interest in becoming a scientist. He spent the next two years doing odd jobs and exploring his writing skills. During this period he began creating a set of 100 sonnets on the theme of sexual love, his first attempt at grouping his creative output. In late 1937 White decided to move to Seattle. He purchased a 35mm Argus camera and took a bus trip across country toward his destination. He stopped in Portland, Oregon, on his way and decided to stay there. For the next 2-1/2 years he lived at the YMCA in Portland while he explored photography in depth for the first time. It was at the YMCA that he taught his first class in photography, to a small group of young adults. He also joined the Oregon Camera Club in order to learn about how photographers talk about their own images and what photography means to them. White was offered a job in 1938 as photographer for the Oregon Art Project, which was funded by the Works Progress Administration. One of his tasks was to photograph historic buildings in downtown Portland before they were demolished for a new riverfront development. At this same time he made publicity photos for the Portland Civic Theater, documenting their plays and taking portraits of the actors and actresses. In 1940 White was hired to teach photography at the La Grande Art Center in eastern Oregon. He quickly became immersed in his work and taught classes three days a week, lectured on art of local students, reviewed exhibitions for the local newspaper and delivered a weekly radio broadcast about activities at the Art Center. In his spare time he traveled throughout the region, taking photographs of the landscape, farms and small town buildings. He also wrote his first article on photography, "When is Photography Creative?," which was published in American Photography magazine two years later. White resigned from the Art Center in late 1941 and returned to Portland where he intended to start a commercial photography business. That year three of his photographs were accepted by the Museum of Modern Art in New York for inclusion in their "Image of Freedom" exhibition. At the close of the exhibition the museum purchased all three prints, the first time his images entered a public collection. The following year the Portland Art Museum gave White his first one-man show, exhibiting four series of photos he made while in eastern Oregon. He wrote in his journal that with that show "a period came to a close." In April 1942 White was drafted into the United States Army and hid his homosexuality from the recruiters. Before leaving Portland he left most of his negatives of historic Portland buildings with the Oregon Historical Society. White spent the first two years of World War II in Hawaii and in Australia, and later he became Chief of the Divisional Intelligence Branch in the southern Philippines. During this period he rarely photographed, choosing instead to write poetry and extended verse. Three of his longer poems, "Elegies," "Free Verse for the Freedom of Speech," and "Minor Testament," spoke to his experiences during the war and to the bonds of men under extreme conditions. Later he would use some of the text from "Minor Testament" in his photographic sequence Amputations. After the war White traveled to New York City and enrolled in Columbia University. While in New York he met and became close friends with Beaumont and Nancy Newhall, who were working in the newly formed photography department at the Museum of Modern Art. White was offered a job as photographer for the museum and spent many hours talking with and learning from Nancy Newhall, who he said strongly influenced his thinking about and his direction in photography. In February 1946 White had the first of several meetings with photographer Alfred Stieglitz in New York. White knew of Stieglitz's deep understanding of photography from his various writings, and through their conversations White adopted much of Stieglitz's theory of equivalence, where the image stands for something other than the subject matter, and his use of sequencing pictorial imagery. At one of their meetings White wrote in his journal that he expressed his doubt that he was ready to become a serious photographer. He wrote that Stieglitz asked him "Have you ever been in love?" White answered "yes," and Stieglitz replied "Then you can photograph." During this time, White met and became friends with some of the major photographers of the time, including Berenice Abbott, Edward Steichen, Paul Strand, Edward Weston, and Harry Callahan. Steichen, who was director of the photography department at the Museum of Modern Art, offered White a curatorial position at the museum, but instead White accepted an offer from Ansel Adams to assist him at the newly created photography department at the California School of Fine Arts (CSFA) in San Francisco. White moved to San Francisco in July and lived in the same house as Adams for several years. While there Adams taught White about his Zone System method of exposing and developing negatives, which White used extensively in his own work. He wrote extensively about it, published a book and taught the exposure and development method as well as the practice of (pre)-visualization to his students. While in San Francisco White became close friends with Edward Weston in Carmel, and for the remainder of his life Weston had a profound influence on White's photography and philosophy. Later he said ...Stieglitz, Weston and Ansel all gave me exactly what I needed at that time. I took one thing from each: technique from Ansel, the love of nature from Weston, and from Stieglitz the affirmation that I was alive and I could photograph. Over the next several years White spent a great deal of time photographing at Point Lobos, the site of some of Weston's most famous images, approaching many of the same subjects with entirely different viewpoints and creative purposes. By mid-1947 White was the primary teacher at CSFA and had developed a three-year course that emphasized personal expressive photography. Over the next six years he brought in as teachers some of the best photographers of the time, including Imogen Cunningham, Lisette Model, and Dorothea Lange. During this time White created his first grouping of photos and text in a non-narrative form, a sequence he called Amputations. Although it was scheduled to be shown at the California Palace of the Legion of Honor, the exhibition was canceled because White refused to allow the photographs to be shown without text, which included some wording that expressed his ambiguity about America's post-war patriotism. From The Temptation of St. Anthony Is Mirrors (1948) The next three years were some of White's most prolific in terms of creative output. In addition to taking dozens of land- and waterscapes, he made dozens of photographs that evolved into some of his most compelling sequences. Three in particular showed his continuing struggles with his sexuality. Song Without Words, The Temptation of St. Anthony Is Mirrors, and Fifth Sequence/Portrait of a Young Man as Actor all depict "the emotional turmoil he feels over his love and desire for men." In 1949 White purchased a small Zeiss Ikonta camera and began a series of urban street photographs. Over the next four years he took nearly 6,000 images, all inspired by his newfound interest in the poetry of Walt Whitman. The project, which he called City of Surf, included photographs of San Francisco's Chinatown, the docks, people on the streets and various parades and fairs around town. The period of 1951-52 is one of the formative times in White's career. He participated in a Conference on Photography at the Aspen Institute, where the idea of creating a new journal of photography was discussed by Ansel Adams, Dorothea Lange, Beaumont and Nancy Newhall, Frederick Sommer and others. Soon after Aperture magazine was founded by many of these same individuals. White volunteered for and was approved as editor, and the first issue appeared in April 1952. Aperture quickly became one of the most influential magazines about photography, and White remained as editor until 1975. Near the end of 1952 White's father, from whom he had been estranged for many years, died in Long Beach, California. In 1953 Walter Chappell introduced White to the I Ching, an ancient Chinese book of philosophy and divination, and White continued to be influenced by and refer to this text throughout the rest of his life. He was especially intrigued by the concepts of yin and yang, in which apparently opposite or contrary forces may be conceived as complementary. Later that same year a reorganization at CSFS resulted in White's teaching role being cut back, and as a result he began to think about a change in his employment. Concurrently, Beaumont Newhall had recently become the curator at the George Eastman House in Rochester, New York, and Newhall invited White to work with him there as a curatorial assistant. He exhibited September 28 - November 3 1954 at Limelight Gallery in New York and was included in that gallery's Great Photographs at the end of that year.[16] Over the next three years White organized three themed exhibitions[where?] that demonstrated his particular interests: Camera Consciousness, The Pictorial Image and Lyrical and Accurate. In 1955 he joined the faculty at the Rochester Institute of Technology (RIT), where he taught one day a week. White's photographic output declined during this time due to his teaching and editorial work, but he continued to produce enough images that by the end of 1955 he had created a new sequence, Sequence 10/Rural Cathedrals, which included landscape images from upstate New York that were shot on regular and infrared film. By 1955 White was fully engaged in teaching, having been appointed as instructor at the new four-year photography program at RIT as well as conducting classes and workshops at Ohio University and Indiana University. Walter Chappell moved to Rochester later in the year to work at the George Eastman House. Chappell engaged White in long discussions about various Eastern religions and philosophies. White began practicing Zen meditation and adopted a Japanese style of decoration in his house. Over the next two years the discussions between White and Chappell metamorphosed into lengthy discourses about the writing and philosophy of George Gurdjieff. White gradually became an adherent of Gurdjieff's teachings and started to incorporate Gurdjieff's thinking into the design and implementation of his workshops. Gurdjieff's concepts, for White, were not just intellectual exercises but guides to experience, and they greatly influenced much of his approach to teaching and photography throughout the rest of his life. During this same period White began making his first color images. Although he is better known for his black-and-white photography, he produced many color photographs. His archive contains nearly 9,000 35mm transparencies taken between 1955 and 1975. In 1959 White mounted a large exhibition of 115 photos of his Sequence 13/Return to the Bud at the George Eastman House. It was his largest exhibition to date. It later traveled to the Portland Art Museum in Oregon. White was invited to teach a 10-days', all-expense paid workshop in Portland to accompany the exhibition. He took advantage of the funding to photograph landscapes and did nature studies across the country. From his experience in Portland he developed the idea for a full-time residential workshop in Rochester in which students would learn through both formal sessions and, following a combination of thinking from Gurdjieff and from Zen, through an understanding gained by the discipline of such tasks as household chores and early morning workouts. He would continue this style of residential teaching until he died. In the early 1960s White also studied hypnosis and incorporated the practice into some of his teachings as a way of helping students experience photographs. White continued to teach extensively both privately and at RIT for the next several years. During this time he traveled across the U.S. in the summers taking photographs along the way. In his journal he referred to himself during this period as "The Wanderer," which had both literal and metaphorical meanings due to his search for understanding life. In 1962 he met Michael Hoffman, who became a friend, colleague and, later, assumed the editorship of Aperture magazine. White later named Hoffman to be the executor of his will. In 1965 White was invited to help design a newly formed program in visual arts at the Massachusetts Institute of Technology (MIT) in Cambridge, Massachusetts, near Boston. After being appointed as a Visiting Professor, White moved to the Boston area and purchased a 12-room house in suburban Arlington so he could increase the size of his residential workshops for selected students. Soon after moving to the Boston area, he completed a different kind of sequence called Slow Dance, which he would later integrate into his teachings. He continued to explore how people understand and interpret photography and began to incorporate techniques of Gestalt psychology into his teachings. In order to help his students experience the meaning of "equivalence," he started requiring them to draw certain subjects as well as photograph them. White began to experience periodic discomfort in his chest in 1966, and his doctor diagnosed his ailment as angina. His symptoms continued throughout the rest of his life, leading him to intensify his study of spiritual matters and meditation. He turned to astrology in an attempt to increase his understanding about life, and his interest in it became so significant that he required all of his current and prospective students to have their horoscopes completed. By this point in his life White's unorthodox teaching methods were well established, and students who went through his workshops were both mystified and enlightened by the experience. One student who later became a Zen monk said "I really wanted to learn to see the way he did, to capture my subjects in a way that didn't render them lifeless and two-dimensional. I didn't realize that Minor was teaching us exactly that: not only to see images, but to feel them, smell them, taste them. He was teaching us how to be photography." White began writing the text for Mirrors, Messages, Manifestations, which was the first monograph of his photographs, in late 1966, and three years later the book was published by Aperture. It included 243 of his photographs and text, including poems, notes from his journal and other writings. Peter Bunnell, who was one of White's early students and then Curator of Photography at the Museum of Modern Art, wrote a lengthy biography of White for the book. During this same time White completed Sequence 1968, a series of landscape images from his recent travels. During the next several years White conceived of and directed four major themed photography exhibitions at MIT, starting with "Light7" in 1968 and followed by "Be-ing without Clothes" in 1970, "Octave of Prayer" in 1972 and "Celebrations" in 1974. Anyone could submit images for the shows, and White spent a great deal of time personally reviewing all of the submissions and selecting the final images. White continued to teach extensively and make his own photographs even though his health was declining. He devoted more and more time to his writing and began a long text he called "Consciousness in Photography and the Creative Audience," in which he referred to his 1965 sequence Slow Dance and advanced the idea that certain states of heightened awareness were necessary to truly read a photograph and understand its meaning. In order to complete this work he applied for and received a Guggenheim Fellowship in 1970, and Consciousness in Photography and the Creative Audience became required reading for a new course he taught at MIT called "Creative Audience." in 1971 he traveled to Puerto Rico to explore more of his color photography, and in 1974 and 1975 he journeyed to Peru to teach and to further his own Gurdjieff studies. In 1975 White traveled to England to lecture at the Victoria and Albert Museum and to teach classes at various colleges. He continued on a hectic travel schedule for several weeks, then flew directly to the University of Arizona in Tucson to take part in a symposium there. When he returned to Boston after nearly six weeks of travel, he suffered a heart attack and was hospitalized for several weeks. After this White's focus turned even more inward, and he photographed very little. He spent much of his time with his student Abe Frajndlich, who made a series of situational portraits of White around his home and in his garden. A few months before his death White published a short article in Parabola magazine called "The Diamond Lens of Fable" in which he associated himself with Gilgamesh, Jason and King Arthur, all heroes of old tales about lifelong quests. On June 24, 1976, White died of a second heart attack while working at his home. He bequeathed all of his personal archives and papers, along with a large collection of his photographs, to Princeton University. He left his house to Aperture so they could continue the work he started there. Source: Wikipedia
Lynn Savarese
Lynn Savarese
United States
1956
For me, the greatest joy of photography is the experience of intimate observation of elements from the natural world, and how my images often serve as metaphoric portraits of my own thoughts and feelings. Originally from a small town in Texas, I lived and traveled throughout the world before making New York City my home in the early ‘80s following my graduation from Harvard Law School. In the decade since taking up photography, my work has appeared in numerous solo and group exhibitions both in the USA and abroad, and has earned me prestigious national and international recognition. Statement Creative endeavor often begins with paper. The novelist, playwright, and poet; the composer; the painter and sculptor—each commence with a blank sheet of paper. During Covid confinement, I also turned to paper for inspiration, seeking to metaphorically portray it spawning and nurturing creation, from ovulation and gestation to birth and fully formed progeny. In the process, I experienced how paper has a life force of its own—its own particular physics—that resists complete manipulation even as it remains malleable. Paper reams and splayed books insist on unfurling in their own way, and crumpled wads of paper insist on their own projectile designs—invariably more complex than one could ever engineer.
Radana Kuchařová
Radana Kuchařová
Czech Republic
Radana Kuchařová was born in Czechoslovakia, graduated from the Czech Technical University and then worked as an engineer and designer. When the borders opened after the "Velvet Revolution", she began to get to know previously inaccessible regions with great joy, like many Czechs. She always carried a camera with her on her travels and recorded foreign countries. In addition to buildings and architecture, I became interested in people, their lives and customs. I also visited regions quite far from my homeland, especially in Asia, and tried to capture moments from the lives of people living a different way of life. People and the human story is what interests me the most in life and their depiction in photography. Recently, when I have been photographing more intensively, I have participated in various international photography competitions, in which I have also won awards and medals. I have participated in several joint exhibitions of Czech photographers and I have also had solo exhibitions in the Czech Republic.
Victoria Bjorklund
Victoria Bjorklund
United States
Victoria Bjorklund is a photographic & book artist based in Tacoma, Washington. She finds inspiration within the city and seeks to give a narrative in each thoughtfully captured photograph. Victoria is a graduate of the Fine Art Certificate program in Photography from Maine Media College and a graduate of the EDGE program for visual artists through Artist Trust in Seattle. Victoria accepts commissions and is available for commercial and editorial assignments. She is always looking for interesting visual stories to photograph, and welcomes your inquiries. Source: www.victoriabjorklund.com
Paweł Pilch
Paweł Pilch
Poland/United States
1966
I was born in Southern Poland and I currently live in USA. My heart and my time is divided between these two countries, and I love being able to call them both home. My photographic adventure started 20 years ago and eventually become my life’s passion. I received my primary and secondary education in Cracow, studied in NYC’s Hunter Collage and trained at Manhattan’s International Center of Photography. In my work I always look for images that can be best expressed with clear lines, bold colors, strong forms and rich textuers. From architectural and still life subjects to landscape and aerial imagery the goal always is to find places and moments when what I see in my viewfinder suddenly comes into sharp focus obliterating everything outside the frame. As photographers we are always engaging in transforming the 3 dimensional world we live in onto a flat 2 dimensional surface. How successful we are in this pursuit depends on how effectively we can focus our perception, eliminate peripheral distractions and reduce what we see to its most basic visual elements. Every time I pick up my camera or start my drone’s engine the hunt begins for the perfect scene, and with every click of the shutter I ask the hidden image to reveal itself.
Yukari Chikura
Yukari Chikura
Japan
Yukari Chikura born in Tokyo, Japan. After graduated from university of music. She became music composer and computer programmer. She is the winner of STEIDL BOOK AWARD and her work has been published by STEIDL. She was selected as "FOTOFEST Discoveries of the Meeting Place 2018". She won LensCulture Emerging Talent Awards 2016, Sony World Photography Awards , Photolucida Critical Mass TOP50 2016 & 2015 among others. Her work has been published by New York Times, Guardian among others. She held 12 places solo exhibition and group exhibition at museum, gallery around the world. Some projects have collected in Griffin Museum in US and Bibliotheque national de France. ZAIDO This book is Yukari Chikura's preservation of the 1300-year-old Japanese ritual festivity "Zaido." Following a series of tragedies including her father's sudden death, her own critical accident and the 2011 Tohoku earthquake and tsunami, Chikura recalls how her father came to her in a dream with the words: "Go to the village hidden deep in the snow where I lived a long time ago." And so with camera in hand she set off on a restorative pilgrimage to northeast Japan (the first of numerous journeys), which resulted in this book. Chikura arrived at the village, surreally silver in the snow and mist, and there discovered Zaido, where inhabitants from different villages gather on the second day of each new year and conduct a ritual dance to induce good fortune. The performers dedicate their sacred dance to the gods and undergo severe purifications. Combining photos of snowscapes that border on abstraction with images of the intricate masks and costumes of Zaido, Chikura depicts the cultural diversity of the participants as well as their common bond in creating collective memory and ensuring the survival of this ritual. More about Zaido by Ann Jastrab
Olga Karlovac
Olga Karlovac
Croatia
1976
Olga Karlovac lives and works in Zagreb, Croatia. She has exhibited widely across Europe with recent solo shows in the UK and Belgium. Her photography has been featured in renowned publications including Black+White Photography and Frankfurter Allgemeine Zeitung. Self-taught and inspired by abstract expressionists and poets rather than photographers, Olga Karlovac published her first photo book in 2017. Her subsequent trilogy encompassing 'before winter', 'the disarray' and 'escape' has been well received with the first edition now fully sold out. Olga captures the drama of the everyday in her work, intuitively releasing the shutter to hold on to the comfort derived from the interplay of shadow and light. Her subjects are never staged, fleeting moments seemingly captured in slow motion. Taken exclusively in black and white, often at night, through windows or in rainy conditions, the resulting images appear both abstract and painterly.
Advertisement
Win a Solo Exhibition in December
AAP Magazine #45: Travels
Photographer of the Week

Latest Interviews

Exclusive Interview with Mital Patel
Interview
Exclusive Interview with Mital Patel
Mital Patel is an internationally recognized nature and wildlife photographer who focuses on capturing beauty in all its forms—whether natural or manmade. From architecture and landscapes to the creatures of the wild, Patel has a distinct passion for capturing the most remarkable elements of life through his visual representation of movement, emotion and mood. From behind the lens, he strives to bring viewers his very unique view of nature, telling a story without words and conveying a feeling in the abstract. He challenges his audience to let their imaginations run free, taking the journey with him on his travels and opening their minds beyond the confines of static photography. In each of his pieces, Patel hopes to offer his audience a way to view the world around them a bit differently – to appreciate the beauty of moments and places that are often overlooked. An intrepid traveler and lover of adventure, Patel’s passion for creative and imaginative photography is a great asset to his exploration of the world, which spans six out of the seven continents. His work is admired worldwide for its unique and artistic perspective.
Read the full interview
Exclusive Interview with Steff Gruber
Interview
Exclusive Interview with Steff Gruber
Steff Gruber, is a renowned Swiss photographer and filmmaker whose career spans decades of impactful storytelling. Having started as a press photographer for Keystone Press, Gruber was one of the pioneers of the docudrama genre, making his mark with the internationally acclaimed documentary LOCATION AFRICA. This film, which followed the intense dynamic between Werner Herzog and Klaus Kinski during the making of COBRA VERDE, earned him international recognition and set the tone for his distinct filmmaking style. Gruber's passion for human interest stories has taken him to various countries, where he has documented diverse subjects through his compelling photo stories, often returning multiple times to deepen his understanding of the people and places he captures. His work is celebrated for its striking visual language and his bold approach to narrative, which continues to push boundaries in both photography and film. We asked him a few questions about his life and work.
Read the full interview
Exclusive Interview with Eric Kunsman
Interview
Exclusive Interview with Eric Kunsman
Eric Kunsman is a renowned photographer and educator whose work explores the intersection of history, culture, and social commentary. Known for his thought-provoking series and meticulous attention to detail, Kunsman captures powerful narratives that challenge conventional perspectives. In this interview, we delve into his creative process, inspirations, and the stories behind his most compelling projects
Read the full interview
Exclusive Interview with Laurie Victor Kay
Interview
Exclusive Interview with Laurie Victor Kay
Laurie Victor Kay is a versatile, multi-disciplinary artist whose practice seamlessly merges photography, painting, installation, and digital media. Her work explores themes of constructed imagination, idealization, and the surreal, creating thought-provoking visual narratives that challenge traditional boundaries between mediums. We asked her a few questions about her background and work.
Read the full interview
Exclusive Interview with Nanda Hagenaars
Interview
Exclusive Interview with Nanda Hagenaars
Nanda Hagenaars approaches photography with a poetic and emotionally rich sensibility, creating images that reflect her intuitive connection to the world. Fascinated by the relationship between time and timelessness, she often works in black and white, a medium that aligns with her creative vision. We discovered her beautiful work through her submission to AAP Magazine Portrait, and we were captivated by her series Perspective. We asked her a few questions about her life and work.
Read the full interview
Exclusive Interview with Lisa McCord
Interview
Exclusive Interview with Lisa McCord
Lisa McCord is a fine art and documentary photographer whose work deeply reflects her roots in the Arkansas Delta. Known for her evocative explorations of storytelling, memory, and time, McCord draws inspiration from her family’s cotton farm in her series Rotan Switch, which won a solo exhibition and has now been published as a book by Kehrer Verlag. We asked her a few questions about her life and wor
Read the full interview
Exclusive Interview with Laurent Baheux
Interview
Exclusive Interview with Laurent Baheux
French photographer Laurent Baheux, follows the tradition of humanist photographers by capturing black-and-white images of nature and wildlife. His subjects are not confined to cages or enclosures; they are free individuals, captured in the moment, displaying the full strength of their freedom, the beauty of their personalities, and the tenderness of their communal lives. Celebrated for their aesthetic power and authenticity, Laurent's black-and-white photographs have been featured in books, publications, exhibitions, and conferences, and are displayed in galleries both in France and internationally.
Read the full interview
Reflections by Jon Enoch
Photographer
Interview
Reflections by Jon Enoch
Jon Enoch is a London-based freelance photographer, who works with celebrities, sports people, CEOs, as well as advertising agencies and brands. Jon regularly creates his own personal work, which have won numerous awards over the years. Jon’s recent project ‘The Candymen of Mumbai’ has won a Portrait of Humanity award and was the overall winner of the Pink Lady Food Photographer of the year 2023. His previous 2019 project called ‘Bikes of Hanoi’ also picked up multiple awards including the Paris Photo Prize - Gold in 2019, Portrait of Humanity Award 2020 and was the Smithsonian Grand Prize Winner in 2020. He was also shortlisted for the Sony World Photography Awards in 2020 and nominated for the Lens Culture Portrait Prize 2020. We asked him a few questions about his project 'Reflections'
Read the full interview
Exclusive Interview with George Byrne
Interview
Exclusive Interview with George Byrne
George Byrne is an acclaimed Australian photographer known for his striking use of color and composition. Byrne's work often captures urban landscapes with a minimalist and abstract aesthetic, transforming ordinary cityscapes into vivid, painterly images. His distinctive style highlights the beauty in everyday scenes, emphasizing geometry, light, and shadow to create visually captivating pieces. Byrne has gained international recognition for his unique approach to photography, blending elements of fine art and documentary to offer a fresh perspective on the urban environment.
Read the full interview
Call for Entries
Solo Exhibition December 2024
Win an Online Solo Exhibition in December 2024
© Matthew Portch
Explore All About Photo
All About Photo
About Us
Contact Us
Link Back
Press
Blog
Newsletter
Terms of Use
Privacy Policy
Competitions
All About Photo Competitions
Our Jurors
All Photo Contests
Open Photo Contests
Amateur Photo Contests
Professional Photo Contests
Portfolio Reviews
Photo Competition News
Artists
Photographers A-Z
Masters of Photography
Modern Photographers
Rising Photographers
Articles
Interviews
Inspirational
Photography Exhibitions
Photography Festivals
Photo Fairs
Photo Museums
Galleries & Centers
Photographer Monographs
Technique Books
History of Photography
Miscellaneous
Paper Magazines
Online Magazines
Resources
Schools and Classes
Photography Agencies
Equipment Rentals
Studio Rentals
Photo Labs
Camera Repairs
Framing Stores
Photo Tips & Tools
Photo Gear
© 2024 © All-About-Photo.com, All Rights Reserved  •  Photographs © the Respective Artists, All Rights Reserved.