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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Mi Zhou
Mi Zhou
Mi Zhou

Mi Zhou

Country: China/United States
Birth: 1962

Mi Zhou was born in 1962 in China, studied Civil Engineering in college. Following graduation, worked for 13 years as a field engineer for Chinese National Railroad Survey and Design Institute. In 1997, obtained Master degree in Communication Arts from New York Institute of Technology. From 1997 to 2004, worked as art director at Y&R /K&L advertising Inc., New York. Since 2004, resides in San Francisco, USA, working as freelance photographer, mainly focusing on personal projects, and working with non-profit organizations on social documentary.

Recognitions:
2011, 500 Photographers, by Pieter Wisse, Netherlands
2009, The Best Photographer, Saint-Petersburg PHOTO VERNISAGE. Russia
2008, Top 50 Photographers, by Critical Mass, an international portfolio review. USA

Selected Exhibitions:
2013, "The Griots of Oakland", African American Museum and Library, Oakland, USA
2011, "Lost & Found", Florence Moll Gallery at Chic Art Fair, Paris, France
2010, "Burning Man", POLKA Gallery, Paris, France

Agency

Florence Moll & Associée

Gallery

Polka Gallery

Website

zhoumi.net

 

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More Great Photographers To Discover

Jonathan Bachman
Jonathan Bachman
United States
1984
Born in 1984 in Morristown, New Jersey, Jonathan Bachman studied photojournalism at Loyola University in New Orleans, Louisiana. In 2012, Bachman started photographing sporting events for the Associated Press and Reuters. In July 2016, Bachman was assigned to cover the killing of Alton Sterling, a 37-year-old black man who was shot dead by white police. It was the first demonstration Bachman ever covered. He is currently based in New Orleans as a freelance photojournalist covering sports and breaking news for Associated Press, Getty Images and Reuters.
Yousuf Tushar
Yousuf Tushar
Bangladesh
Tushar is freelance documentary photographer based in Bangladesh. Photography is his profession, passion & hobby. After his graduation from Dhaka University he took photography seriously and since 2000 he has been working as a full-time professional photographer. As well as he is entrepreneur, organizer and judges of National & international photography competitions. He is regularly supplying imagery and undertaking commissions form worldwide many large and prestigious organizations, NGOs, newspapers, magazines, photo agencies, industries & business clients. His images published Forbes magazine, Daily Mail, Telegraph, The Sun, BBC, National Geographic, The Atlantic, the Washington Post, USA Today, NPR, Huffington Post, The Guardian, L'actualite, Forbes Russia, Helvetas, Financial Times, Euromoney magazine and renowned international photo agencies & newspapers.
Ofir Barak
Ofir Barak
Israel
My name is Ofir Barak, I'm a photographer based here in Jerusalem. I can honestly say that I have been an artistic person all my life. I started out as a painter and was very passionate about it from a very early age. In 2013 I was lacking the motivation to create I was frustrated and I decided to put it aside and look for a new path to express myself through art. I needed to travel somewhere and clear my mind and look for answers. In order to move beyond my struggle, I needed to surround myself with every form of art I could find - literature, poetry, paintings, architecture - anything goes. I remembered that the museums in D.C have free admission, so I decided to go there. Each day I wandered into a different museum and enjoyed the art galleries. One day, accidentally, I entered an exhibition of a photographer from the wrong side - where people exit. I didn't know who the photographer was, but I was struck by his images. At that moment, I had an epiphany - this is what I want to do. This is what I can do. I spent two hours at the gallery and realized that I just couldn't consume it all in once. I went back there three more times to learn about the photographer - Garry Winogrand and each time I focused on different photographs. In the exhibition there was also a small screening room showing his famous talk at Rice University. I took a notebook with me each visit and sat at the corner of the room - writing down what I want to achieve and how. After returning home, i decided to work on a first project of my own. Between the years 2014 and 2017, I photographed constantly and on a weekly basis the neighborhood of Mea Shearim. I attended protests, holidays and weekdays tring to present a full documentation of a religious society here in Jerusalem. After 3 years and 15k pictures, a self published book was released under the title of "Mea Shearim - The streets". The project was well received within the world of photography rewarding me a Magnum Photos prize for the street photograph of the year, and a nomination for a Hasselblad masters in 2018. Parts of the project were exhibited in different locations including the jewish museum in berlin, the Lucie foundation - Month of photography photo book exhibition in the Us and many others. After completing this project, I have realized it has now become a starting point to a much larger project regarding religion in Jerusalem and a three parts books. The book is sold here at the event and if you liked the talk, feel free to take a look in the open copy and purchase one. About the Streets of Mea Shearim During the 1870s the city within the walls of Jerusalem were undergoing a serious crisis. An increase in population, especially in the Jewish quarter, resulted in high housing prices and poor sanitation.The Ottoman government failed to remove garbage dumps and eventually the pollution seeped into the water pits, causing a rise in disease and mortality rates among the population within the walls. This drove the Jewish community to establish neighborhoods outside the walls, and by 1873 four such neighborhoods were built - "Mishkenot Sha'ananim" (1880), "Mahane Israel" (1886), "Nahalat Shiva" (1869) and "Beit David" (1873). A small group of about one-hundred young Ashkenazi Jews who believed that moving outside the walls would help them improve their standard of living, decided in 1874 to combine their resources. They were able to purchase a tract of land outside the walls for a new settlement. It would have one-hundred houses and would serve as the fifth neighborhood outside the city walls. The name which they chose for that piece of land, Mea Shearim, was derived from a verse in the Torah portion that was read in the week the neighborhood was founded: "Isaac sowed in that land, and in that year he reaped a hundredfold (Mea Shearim); God had blessed him" (Genesis 26:12). Construction began around April 1874, by both Jewish and non-Jewish workers. Contractors, builders and plasterers were Christian Arabs from Bethlehem, and Jewish craftsmen also contributed. By December 1874, the first ten houses were standing. At first Mea Shearim was a courtyard neighborhood, surrounded by four walls with gates that were locked every evening. By October 1880, 100 apartments were ready for occupancy and a lottery was held to assign them to families. Between the years 1881 and 1917, more houses and neighborhoods were built. New neighborhoods surrounded Mea Shearim and helped establish a large Jewish presence outside the walls. By the turn of the century there were 300 houses, a flour mill, and a bakery. Mandatory Palestine under British administration had been carved out of Ottoman southern Syria after World War I. The British civil administration in Palestine operated from 1920 until 1948. During its existence the country was known simply as Palestine. The British regime was welcomed by the residents of Mea Shearim, who maintained good relations with the authorities for the good of the neighborhood. As a result, access roads to the area were improved, the neighborhood markets prospered, old shops were renovated, and new shops opened. Mea Shearim continued to grow, and by 1931 it was the third largest neighborhood in Jerusalem. This growth enhanced the neighborhood's status and importance, but daily life became more difficult, as many of the houses were populated with a large number of people resulting in sanitary conditions that endangered their health. The neglect of the Ottoman regime continued to set the tone, and lack of proper drainage caused rain to flood the streets and even people homes. There was a rise in poverty, resulting not only in a deterioration of the houses outer appearance but also in a spread of diseases. The neighborhood's uniform appearance also began to change, as different kinds of constructions materials came into use, resulting in non-uniform façades. Cheap tin became an alternative to the Jerusalem stone commonly used for construction. In 1948 the Arab-Israeli war broke out and Jerusalem was divided between two countries - Israel and Jordan. The border was very close to Mea Shearim and the neighborhood suffered from military attacks and damage to buildings. Within the next 20 years ,the neighborhood would suffer from decreasing population as the children of the second founding generation moved to orthodox neighborhoods nearby, leaving as few as 170 houses occupied out of a total of 304. In later years the residents returned and the population grew once again. The population remained isolated and segregated, because it refused to cooperate with the government of Israel. Street posters (Pashkvilim) began to appear on a public walls calling on residents not to serve in the Israeli army, not to vote or be elected to the Israeli parliament, and not to participate in Israel's Independence Day celebrations. Today, Mea Shearim remains loyal to its old customs and preserves its isolation in the heart of Jerusalem while trying to stave off the modern world; it is, in a way, frozen in time. The numerous renovations of houses at the end of the 20th century hardly affected the appearance of the neighborhood. They are still common today but fewer in numbers. Houses that were built over one hundred years ago stand alongside a few new ones. The life of the Hasidic community still revolves around strict adherence to Jewish law, prayer, and the study of Jewish religious texts. The large majority of the people are Ashkenazim; there are hardly Sephardic Jews in the neighborhood. In addition to some well-to-do family there are also many needy ones, which are helped by local charity institutions. The traditional dress code remains in effect here; for men and boys it includes black frock coats and black hats. Long, black beards cover their faces and many of them grow side curls called "payots".Women and girls are urged to wear what is considered to be modest dress - knee-length or longer skirts, no plunging necklines or midriff tops, no sleeveless blouses or bare shoulders. Some women wear thick black stockings all year long, and married women wear a variety of hair coverings, from hats to wigs and headscarves. The common language of daily communication in Mea Shearim is Yiddish, in contrast to the Hebrew spoken by the majority of Israel's Jewish population. Hebrew is used by the residents only for prayer and religious study, as they believe that Hebrew is a sacred language to be used only for religious purposes. This is the story of the ongoing battle between the old and the new, the past versus the present, this is the everyday life of a city within a city. My grandmother and I had a special bond. We developed a habit that once a week, usually on Mondays, we cleared our schedule and sat down to discuss the photographs I took. We talked the stories behind the photos, the people, even how the weather affected the light in the pictures. At first, photography was something foreign for both of us and with time, we developed a passion for it. We loved our gatherings and anticipated them every week. In early 2014 things changed, we had fewer opportunities for our weekly routine as her health had begun to deteriorate. She received treatments on a weekly basis and eventually had to be under medical supervision and hospitalized. On one of the visits as I sat by her bed, I wanted to ease her mind from the treatments she received and asked if she would like to see a photograph I took the day before. She immediately said yes and was very enthused when I showed her the photograph. We ended up taking and analyzing the photo as we used to, freeing our minds from the hospital room we were in. Neither of us knew that it would be our last time together. After her death, I decided to do a project based on the last photograph she ever saw. This one photo has led me on a journey, photographing the streets of Mea Shearim. Discover The Christians of Jerusalem
Pedro Luis Saiz Ajuriaguerra
Pedro Luis Saiz Ajuriaguerra
Spain
1974
Pedro Luis Saiz Ajuriaguerra (Bilbao, Bizkaia, Spain, 1974). self-taught photographer, began his career back in 2011 discovering a passion that was unknown, the beginning do little more than encourage their concerns are increasing making try almost all disciplines of photography, highlighting mainly in sports photography, and architectural photography. It has the distinctions MCEF / o (Gold Master of the Spanish Confederation of Photography) and EFIAP / g (Gold Excellence of the International Federation of Photographic Art). He is currently collaborating with magazines such as BAO Bilbao Magazine, Bilbao Tourism, Bilbao Bizkaia Tour Magazine and for different sports promoters such as MGZ Promotions, Euskobox etc. Judge in more than 20 international competitions. He has participated in numerous International competition and has managed numerous medals of FIAP, PSA, GPU, IUP, DPA, UPI, CVB, ISF, PCA (50 FIAP Gold Medals and around 70 PSA Gold Medals), just over 400 awards and more than 5000 acceptances by various international photographic salons in the last years. The predator of instants He is shy, thin, with white skin and very large, green, expressive eyes. They are eyes that capture everything; Suddenly, they focus on a sheet of time and begin to create a painting. The camera is just the harpoon that he catches that moment. Before, Pedro Luís has studied the hunting area. And then he will catch the moment before showing the trophy. He is a predator. "I'm not obsessed with light, or color, or movement. I am very attracted to various disciplines such as sports, architecture and extreme macro. I am looking for a place, event or object and I begin my research on what can be photographed, which can last for weeks. Then I let myself go, "he explains. "It is essential to tell stories with photos. A good photograph must relate something. A photo is a story, a short story. Of course, it is not always possible. But the most impressive photos always have a story inside ". He insists that passion is the descriptive element of his photographic style. "It is my strong point, it forces me to go further." That passion is transmitted to the photo "with a lot of contrast, sharpness and blacks pushed to the limit; with marked shadows, the light is there. It is a style close to the comic ". The photo does not exist although the moment already feels that it carries the harpoon on its back. "It is necessary to complement two processes: a good photograph and a good edition. He did a lot of editing work ", "A photo, once you have taken it, you have worked on it, you have it finished, it loses part of its value for me. It is tremendous. It may be something subconscious, but once the process is complete, it loses its charm. And I do not stop finding defects. It also happens to me that the more I see a photo, it becomes devalued, it comes off the ability to surprise me. It is the essence of the predator. He needs new blood. A recent trail. The stimulus to capture prey that he has not yet seen.
Alfred Wertheimer
Alfred Wertheimer
United States
1929 | † 2014
Alfred Wertheimer was an American photographer best known for his intimate and iconic images of Elvis Presley during his early career. His photographs provide a rare and intimate look into the life of one of music's most influential figures. Wertheimer was hired by RCA Victor Records in 1956, at the age of 26, to document the rising star Elvis Presley. Wertheimer followed Presley on tour for several months, capturing candid moments both on and off stage. His photographs revealed the young musician's raw and unguarded side, highlighting his charisma, vulnerability, and undeniable talent. Wertheimer's photographs of Elvis Presley have come to represent the spirit and energy of early rock and roll. Wertheimer's lens captured the essence of Elvis' cultural phenomenon, from backstage encounters to private moments at home. The most famous photograph in Wertheimer's collection is arguably "The Kiss." The photograph, taken during a train ride in 1956, captures a tender moment between Elvis and a young woman through a train window. This image has come to represent Elvis Presley's allure and magnetism as a cultural icon. Wertheimer's work extended beyond his time with Elvis throughout his career. He shot a diverse range of subjects, including well-known musicians, politicians, and cultural figures. His photographs have been shown in galleries all over the world, have been published in numerous books, and are still admired for their artistic and historical significance. The photographs of Elvis Presley by Alfred Wertheimer have left an indelible mark on the worlds of music and photography. He captured the essence of a young musician on the verge of stardom through his lens, providing a glimpse into the humanity behind the legend. Wertheimer's photographs are as powerful and captivating today as they were when they were first captured, capturing the spirit of a cultural icon and the energy of a transformative era.
Edmund Teske
Edmund Teske
United States
1911 | † 1996
Edmund Rudolph Teske (March 7, 1911 – November 22, 1996) was a 20th-century American photographer who combined a career of taking portraits of artists, musicians and entertainers with a prolific output of experimental photography. His use of techniques like: combined prints, montages and solarizations led to "often romantic and mysterious images". Although he exhibited extensively and was well known within artistic photography circles during his lifetime, his work was not widely known by the public. He has been called "one of the forgotten greats of American photography."Source: Wikipedia Born in Chicago, Edmund Teske began taking photographs at age seven with his mother's Kodak Scout 2-C camera. In 1931, while attending evening classes at the Huttle Art Studio, he installed a photographic studio in his family's basement. Soon he purchased a view camera and started photographing the streets of his hometown. After working for a commercial studio in Chicago, Teske was awarded a photographic fellowship in 1936 that enabled him to study under the guidance of the architect Frank Lloyd Wright. Teske taught in the late 1930s at Chicago's New Bauhaus (later the Institute of Design), then moved to New York to work as Berenice Abbott's assistant. In 1943, Teske settled in Los Angeles, where he became interested in cinema, and in the early 1950s he was active with several small theater groups. During this period Teske refined the experimental photographic processes that he had begun to explore in the 1930s, such as solarization, combination printing, and chemical toning, and began to regularly exhibit and publish his work. In the 1960s, Teske was an influential visiting professor of photography at UCLA and other schools.Source: International Center of Photography Edmund Teske believed in the transformative potential of photography. He was interested in more than the inherent characteristic of the medium to record a specific moment in time. For Teske photography was a way to explore the soul of his subjects and creating the negative was only the beginning. His composites of multiple negatives and his use of solarization, as well as his exquisite gelatin silver prints, express the complexity and depth of his personal vision. His composites often layered images from different periods and places and sometimes outside sources. As the assemblage artist George Herms suggested, Teske's composites and solarizations are like Jazz variations on a theme. Though they often contain allegory and symbolism, they are not nostalgic. Rather, they exist as expressions of his various beliefs. Teske believed in the coexistence of both the masculine and the feminine within every individual. Furthermore, he believed in the connectedness of all life and that time is both fluid and cyclical. In the 1930s, Edmund Teske gained experience in theater and portraiture photography and became friends with Nathan Lerner, who introduced Teske to Laszlo Moholy-Nagy. During the depression, he photographed for Frank Lloyd Wright, Paul Strand (for his film, Native Land), and the U.S. Army Corps of Engineers and he printed for Berenice Abbott. In 1943 Teske traveled to Arizona to photograph at Wright’s Taliesin West and continued on to Los Angeles where he became friends with Man Ray and Anaïs Nin. Teske was introduced to Vedantic thought, a Hindu philosophy, and its mythology and symbolism greatly influenced Teske’s later work. In 1950 he moved to Topanga Canyon where he became a part of an enclave of artists, black-listed actors and intellectuals, including Wallace Berman, Will Geer, George Herms, Walter Hopps and Dean Stockwell. It was during this time within a nurturing environment of like-minded, creative, free-thinking individuals that Teske's singular style evolved. Teske’s work was included in Museum of Modern Art’s 1960 The Sense of Abstraction show and it was Edward Steichen who named Teske’s innovative process “duotone solarization.” While teaching at UCLA in the 1960s, Teske was a colleague of Robert Heineken and became a mentor to many local photographers.Source: Gitterman Gallery
Alice Boughton
Alice Boughton
United States
1866 | † 1943
Alice Boughton (14 May 1866 - 21 June 1943) was an early 20th-century American photographer known for her photographs of many literary and theatrical figures of her time. She was a Fellow of Alfred Stieglitz's Photo-Secession, a circle of photographers whose artistic efforts succeeded in raising photography to a fine art form. Alice Boughton was born in Brooklyn, New York, on 14 May 1866. Her parents were Frances Ayres and William H. Boughton, a lawyer in New York. As educational opportunities were made more available in the 19th-century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became "increasingly vocal and confident" in promoting women's work, and thus became part of the emerging image of the educated, modern and freer "New Woman". Artists then, "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplyfying this emerging type through their own lives." In the 1880s, Boughton began studying art and photography at the Pratt School of Art and Design. It was there that she met fellow student Gertrude Käsebier, with whom she later studied in Paris. Käsebier also employed her an assistant in her studio, most likely at the same time Boughton was studying at Pratt. In 1890, she opened her own portrait studio on East 23rd Street in New York, which she maintained for the next forty years. In 1904, she sent a letter to William Butler Yeats that listed a studio address on Madison Avenue, indicating that she established or used more than one studio for at least a brief period. Around 1901, Boughton studied art in Rome and photography in Paris, where she worked in Käsebier's summer studio. She won an honorable mention for her work at the Turin International Decorative and Fine Arts Exhibition in 1902. It is not known when she met Alfred Stieglitz, but it is clear he knew of and admired her work by 1902 when he included two of her works in the inaugural exhibition at his Little Galleries of the Photo-Secession in New York City. Four years later, in 1906, Boughton was appointed by Stieglitz as a Fellow of the Photo-Secession. The following year Stieglitz gave her, along with fellow photographers C. Yarnall Abbot and William B. Dyer, an exhibition at the Little Galleries. In 1909 she had six of her photographs and an essay called "Photography, A Medium of Expression" published in Stieglitz's journal Camera Work (No 26, April, 1909). During this same period, her photographs were included in major exhibitions around the world, including shows in London, Paris, Vienna, The Hague and New York. Boughton became one of the most distinguished portrait photographers of New York, although she did many landscapes in this country and Europe including the famous Rockefeller estate Kykuit at Pocantico Hills, New York. She produced studies of children, as well as female nudes in allegorical or natural settings. Among her more famous works are portraits of Eugene O'Neill, Albert Pinkham Ryder, George Arliss and Robert Louis Stevenson. Her portrait of Robert Louis Stevenson was an inspiration for John Singer Sargent's own portrait of the writer. From at least 1920 until her death, Boughton shared her residences with artist and art teacher Ida C. Haskell (1861-1932). Haskell is known to have been an instructor at Pratt while Käsebier and Boughton studied there. When Boughton traveled to Europe in 1926, Haskell, her partner, accompanied her on the trip. In 1931, Boughton closed her studio and discarded thousands of prints. She moved permanently to the home in Brookhaven, Long Island, that she shared with Haskell. Boughton died of pneumonia on 21 June 1943. Her works are in the permanent collections of the Metropolitan Museum of Art, the British National Portrait Gallery, the U.S. National Portrait Gallery, the George Eastman House and other important museums.Source: Wikipedia
Robert Doisneau
Robert Doisneau
France
1912 | † 1994
Born in April 1912 in an upper middle class family, in the Parisian suburbs (Gentilly), Robert Doisneau started showing an immoderate interest in the arts at a very early age. Robert Doisneau lost his parents at an early age and was raised by an unloving aunt. Aged 14, he enroled at the Ecole Estienne a craft school where he graduated in 1929 with diplomas in engraving and lithography. A year later, he started working for « Atelier Ullmann » as a publicity photographer. In 1931, Robert Doisneau met his future wife Pierrette Chaumaison, with whom he will have three children and also started working as an assistant for modernist photographer, André Vigneau. André Vigneau will introduce Robert Doisneau to a « new objectivity in Photography ». In 1932, Robert Doisneau sold his first photographic story to Excelsior magazine. In 1934, car manufacturer Renault hired Robert Doisneau as an industrial photographer in the Boulogne Billancourt factory. He was fired in 1939 as he was consistantly late. Without a job, Robert Doisneau became a freelance photographer trying to earn his living in advertising, engraving and in the postcard industry. Shortly before WWII, Robert Doisneau was hired by Charles Rado, founder of the Rapho Agency. His first photographic report on canoeing in Dordogne was abruptly interrupted by the war declaration. Drafted into the French army as soldier and photographer he was relieved from duty in 1940. Until the end of the war, he used his skills to forge passports and identification papers for the French Resistance. After the war, Robert Doisneau became a freelance photographer and rejoined with the Rapho agency (1946). It is probably at this time that mutual influence with Jacques-Henri Lartigue found its origin. He started producing numerous photographic stories on various subjects: Parisian news, popular Paris, foreign countries (USSR, United-States...). Some of his stories will be published in prestigious magazines, LIFE, PARIS MATCH, REALITES... In 1947, Robert Doisneau met Robert Giraud with whom he will have a life long friendship and a fruitful collaboration. Doisneau will publish more than 30 albums such as “La Banlieue de Paris” (The suburbs of Paris, Seghers 1949) with texts written by French Author Blaise Cendrars. From 1948 to 1953, Robert Doisneau also worked for Vogue Magazine as a fashion photographer. It is also at that time that he joined Group XV and participated alongside Rene Jacques, Willy Ronis and Pierre Jahan in promoting photography and its heritage preservation. In 1950, Robert Doisneau created his most recognizable work, le Baiser de l’Hôtel de Ville for Life magazine. Although Doisneau’s most recognized work dates from the 1950’s and old style magazine interest was declining in Europe in the early 1970’s, Doisneau continued to produce children’s books, advertising photography and celebrity portraits. His talent as a photographer has been rewarded on numerous occasions: Kodak prize 1947 Niepce Prize recipient in 1956 In 1960, he held his first solo exhibition in Chicago (Museum of Modern Art) In 1975 he is the guest of honour of les “Rencontres d’Arles” Grand prix National de la Photographie 1983 Balzac Prize recipient 1986 In 1991, the Royal Photographic Society awarded Robert Doisneau an Honorary Fellowship (HonFRPS) Robert Doisneau died in 1994, six months after his wife. He is buried alongside her in Raizeux.
Claudio Allia
Claudio Allia
Italy
1962
Claudio Allia (1962), is an Ophthalmologist, jazz and classical music producer, and an amateur awards-winning photographer living in Sicily. Music and photography have always been his main passions that he has cultivated all his life since childhood. Fascinated by fine art and conceptual photography, at early 90's Claudio began to devote himself to the creation of photographic projects and series trying to transfigure and filter most disparate social themes, even the most crude and brutal, through his personal sensitivity and imagination. Since 2005, started to experiment with new visual and creative approaches into his photographic world, exploring and developing as well his knowledges in the digital editing field and spacing his body of work from fine art to surrealistic or conceptual photo collections/series up to pure social/documentary photography. Slum Glam series Despite the harsh living conditions I have recognised the high level of dignity shown by the Mathare residents and my Slum Glam series attempted to depict this. A hand painted, makeshift wooden chair rests in front of a multi coloured shack wall that the women have decorated using brightly coloured designs wearing their best clothes to pose for my camera. Flower Pots series (Mathare Valley Slum - Nairobi) "Now we go into the vulnerable realm of an impossible privacy, constantly threatened and modified by all that's happening outside; rooms as decorated trenches of a never-ending battle; 9 square meters where to try a claustrophobic but worthy independence, where to keep dignity at low cost. Now focus in the flowerpots; the picture is a transparent flowerpot allowing you to check every corner of these rooms... look again: the dwellers are the flowers." --Claudio Torres Remote Control series (Mathare Valley Slum – Nairobi) For the Remote Control series some of the children of Mathare joined me on a photo shoot, turning up well dressed and carrying a favourite, or only toy. As they walked through the area of corregated dwellings I handed them a remote control i had brought withme in preparation and they instinctively grasped the significance and started pointing it towards areas that they wished to see change to improve their existence.
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Interview
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
Interview
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
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
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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