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Manfred Baumann
Manfred Baumann
Manfred Baumann

Manfred Baumann

Country: Austria
Birth: 1968

Manfred Baumann was born in Vienna in 1968. The Leica photographer has since presented his works worldwide in the form of exhibitions, books, and calendars. His photographs are displayed in museums as well as in international galleries. Over the past years, Baumann has taken his place among the most influential photographers of our time. Via social media his range is more than 1 million!

He lives and works in Europe and the USA, and has already photographed such greats as Kirk Douglas, Sandra Bullock, Olivia Newton John, Martin Sheen, Don Johnson, Danny Trejo, William Shatner, Jack Black, Natalie Portman, Tony Curtis, Paul Anka, Lionel Richie, Kathleen Turner, John Malkovich, Bruce Willis, Juliette Lewis, Angelina Jolie, Toni Garrn, Michelle Rodriguez, Leah Remini, Evander Holyfield, as well as many international top models.

For Manfred Baumann, the fascination of photography lies in departing from the familiar and capturing an impression of the moment. He loves to explore the world through the eyes of a photographer.

To make visible that which others have not seen has been the objective of Baumann's exhibitions, such as End Of Line, in which he documented the final journey of death row inmates in Texas; Alive, where he photographed homeless persons on the street for one year; and his current project Special, which showcases Baumann's portraits of intellectually disabled persons. His ambition is to break with tradition and the conventional perspective.

The viewer of my photographs should discover the soul and history they embody and recognize that photography is the only language that can be understood all over the world. As an ardent animal welfare activist, vegetarian, and goodwill ambassador for Jane Goodall, he also ventured into the world of animal photography for the first time with the project Mustangs. The project's works and exhibition were shown in the Natural History Museum Vienna and the Leica Gallery in Los Angeles.

He teaches for the Leica Academy worldwide and does worldwide lectures & workshops. Manfred Baumann was 2017 Testimonial for Huawei international alongside with Robert Lewandowski. His Book and exhibition Vienna were shown at the Grand Hotel Vienna.

From February 2019 to May 2019, Baumann exhibited for the first time in Australia (in Melbourne and Sydney). In 2020 two new books will appear, the Lipizzaner the white horses and a Best of book with the name a photographer's life. It is the 15 and 16 illustrated books which have been published worldwide. Among Manfreds role models are great Master of Photography such as Alfred Eisenstaedt, Helmut Newton, Henri Cartier-Bresson, Richard Avedon, Herb Ritts, and Ansel Adams.

Manfred Baumann also photographed the late Tony Curtis. This was the Hollywood star's last official photo shoot and did much to bolster Baumann's considerable fame in the USA.

For more than 25 years, Manfred has been drawn to the most distant places in the world, where his breathtaking landscape photographs are created, and it is only natural that since 2013, he has cooperated with and photographed for National Geographic.

He lives and works in Vienna with his wife and muse Nelly Baumann, although his sojourns to his second home, Los Angeles, have become increasingly frequent and of longer duration. His clientele, however, come from all over the world.

Statement
"I GIVE THE MOMENT DURATION"
"Photographs are like songs that you sing into the world."
"HEART AND MIND – THE TRUE LENS OF THE CAMERA"
"The truth is the best picture!"


 

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More Great Photographers To Discover

Torrance York
United States
1966
This Fall Torrance York published her monograph, Semaphore, with Kehrer Verlag and exhibited her Semaphore project in a solo show at Rick Wester Fine Art, NYC. She earned a BA from Yale and an MFA in photography from RISD. York's recent awards include: selection for Atlanta Photography Group's Portfolio 2022 exhibit; Lenscratch 2021 Art & Science Awards, Honorable Mention; Critical Mass 2021 finalist; and semifinalist and Olcott award winner from The Print Center 95th ANNUAL International competition (2020). The monograph was recently awarded 1st place/book/monograph by the Lucie Foundation's International Photography Awards. Her work is in private and public collections, including AllianceBernstein, New York, NY; John & Sue Wieland Collection at the Warehouse, Atlanta, GA; and RISD, Providence, RI. York has had solo shows at Silvermine Galleries, New Canaan, CT; New Canaan Museum & Historical Society; and Southport Gallery, Southport, CT, among others. Her work has been exhibited at Littlejohn Contemporary, New York, NY; Griffin Museum of Photography, Winchester, MA; TILT, Philadelphia, PA; Schelfhaudt Gallery, University of Bridgeport, CT; Aldrich Contemporary Art Museum, Ridgefield, CT; and Center for Photography at Woodstock, NY. She was a resident artist at Anderson Ranch Arts Center in Snowmass Village, CO, and received a Connecticut Artist Fellowship grant in 2010. Semaphore Semaphore examines the shift in my perspective after having been diagnosed seven years ago with Parkinson's disease. Through images, I consider what it means to integrate this life-altering information into my sense of self. What does acceptance look like? Post diagnosis, everyday items and experiences take on new meaning. As I look around me, the branches of trees become networks of neurons or resemble tendons in my wrist imaged by an MRI. Simple tools now present a challenge. Acknowledging these signals facilitates the process of adaptation. Optimism holds the key for me right now. Connection inspires. Light, always an inspiration, illuminates a path for me to follow. And I go. Parkinson's disease is the world's fastest growing brain disorder. Currently, over ten million people live with Parkinson's worldwide. While this project is relevant to the Parkinson's community, it also connects with others whose journeys require growth, patience, and perseverance to move forward. Published by Kehrer Verlag, Semaphore has 96 pages, includes 67 images, and an essay by Rebecca Senf, PhD, Chief Curat
Dorte Verner
Dorte Verner was born in Denmark and lives in Washington, D.C, USA. She holds a Ph.D. in economics and a passion for bringing change and attention to vulnerable people and voiceless people. Dorte's expertise in international development allows her to understand the reality in the environments she photographs. Dorte has won numerous prizes and awards for her photographs, e.g. she won the Nikon-100-Year Photo Contest 2016-2017, specifically the Most Popular Entry: Disappearing Fishing Method by Moken out of 80,000 submitted photographs. In the 2017, Dorte received first and third prize in Culture and Traditions, respectively in prestigious International Photo Award (IPA) by the Lucie Foundation and the Silver Prize in PX3. Dorte has photographed since 2011 and is a self-taught photographer. Dorte's photography focuses on people that has little voice and never make the news, but who have important knowledge and experiences to share. She captures their strength and beauty through intimate moments. She has focused on nomads, refugees, indigenous people, and people affected by climate change, among other changes. Dorte's portfolio centers on environmental portraits, with images inspired by the lives and livelihoods of people living in extreme situations. These people live in remote geographical locations, including: rural areas in Africa such as refugee camps; the Arabian Desert; Latin America's Amazon and drylands; and Asia's plains and mountains. Dorte's photographs are featured in many shows and galleries in Africa, Asia, Europe, and the USA. Currently her photographs are exhibited in The Silk Road, Photography Biennial of Tianshui, China; and in two solo exhibitor shows: The Sahel, The World Bank, USA and Beyond Borders, Henry Luce III Center for Arts and Religion, Washington D.C., USA. They are also on permanent display in International Organizations and published in magazines such as GEO and Vanity Fair and on the cover of books and publications.
Christine Armbruster
Although a recent graduate of Brigham Young University with her Bachelor of Fine Art degree in Photography (2012), Christine Armbruster has managed to work on various projects and get published internationally. Working as a photojournalist in the Dominican Republic, Christine created her first solo show called "Working Identities: a collection of portraits from the Dominican Republic" which showed for a full year in 2009. This show was viewed all over Utah and various pieces won awards for documentary photography. The photojournalism work completed while there was published all of the world for papers such as USA Today and Dominican Today. Next on the list was Bosnia. Armbruster got grants and went to Sarajevo where the project, "Mortar Shells and Cigarettes", was completed. Walking the streets of Sarajevo for over a month, she captured these as a reaction to a city still recovering from war. The show exhibited in Utah as well as pieces were sent away to competitions in Texas. Prior to going to Bosnia, Armbruster started what would turn into a 2 year project in Utah, photographing town with populations of 800 people or less, called "Population 800." This small town documentary has shown throughout Utah and became her senior thesis for graduation. Since those shows have been completed, Armbruster has since traveled extensively to shoot two more projects still being edited. The first in collapsed Soviet towns and the second of Bedouins living in caves in the Arabian Desert. Additionally, Armbruster has blended her documentary interests with her commercial photography degree to work for international clients. Some of these clients have included The Travel Chanel, KT Tape, Blendtec Blenders, The Church of Jesus Christ of Later-Day Saints, Chicago Cultural Center, Petra Caravan Tours, and Bedouin Brothers Tour Group. Armbruster is committed to exploring the world of social change through art. Blending her education of commercial photography with her candid aesthetic, she is able to tell stories and capture people in their natural elements. She is currently based out of Chicago, working as an editorial travel photographer. About Working Identities: The first woman in this series is the inspiration behind this project. As I was walking around the market near my Dominican home, I came across an older woman by the name of Rosa Santana. I photographed her at her vegetable cart, she then grabbed my hand and insisted that I photograph every member of her family in our little community. Leading me inside stores converted out of modest houses and through narrow alleyways into small-enclosed spaces made of stucco with a single mattress inside. Each new home, whether large or small had a family member inside to be photographed. One of her daughters particularly struck me by the way she showed me the objects on the wall illustrating her own three children. As I thought about these seemingly strange dolls and single photograph nailed to the wall, I began to realize how not only do they represent her children, but the different ways we represent and give an identity to the people around us. As I photographed in the Dominican Republic, I began to realize that I was categorizing people, trying to collect one of everything for myself. These people I was collecting were not based on location or look, but rather by profession. I looked for the stereotypical from the butcher to the security guard, but then to the boy who fixes bicycles in front of his house in Santo Domingo and the even younger children who pick coffee beans in the mountains of Jarabacoa. Each of these people have an identity created not by the symbolic objects used to represent them, but rather by an occupation. With this some gain a definition in society, while others are generalized. I chose to explore these occupations not just as types, but rather go deeper to discover each person as individuals. How each person is an individual although they may do the same thing as handfuls of others everyday, how we are all Working Identities.Source: www.christinearmbruster.com Interview With Christine Armbruster: All About Photo: When did you realize you wanted to be a photographer? Christine Armbruster: "It wasn't until I was twenty that I even considered it. I had always wanted to be in filmmaking and it wasn't until I was on my first real film set involving a week of 15-hour days that I decided I should reconsider. So i went with the next closest thing which was photography, and it just kind of stuck." AAP: Do you remember your first shot? What was it? CA: "After my freshman year of college I was inspired by a good friend who studied photography and got my first "good camera". For months I photographed so many close up shots of industrial parts and weird metal things. My first memorable photographs, however, that I really feel like began to develop my style, are a few portraits of train hoppers in Austin, Texas later that summer. I sat on the ground with them and got to know them before asking to photograph their faces covered with tattoos and their accompanying dogs. Ever since I have been a little obsessed with train hoppers and spent handfuls of time with them. It's a surprise to me that I have still yet to hop a train of my own." AAP: What or who inspires you? CA: "Life around me and newness inspires me. There was once a photographer who said that when he stays in one place for too long he goes blind. I feel very similar. I unfortunately never photograph where I live after I have been there for a few months, it is just so common to me. But that is something I am working on so I can practice sitting still for slightly longer stints. He said he hadn't paid rent in 16 years, I feel like that could become my fate which is both exciting and daunting to me." AAP: How could you describe your style? CA: "I would describe my style as very natural and quiet. I am not in your face and not trying to be loud and force heart wrenching subjects on you. I just want things to be as they are, as beautiful and simple as they are in natural light, portraying people are the strong individuals as they are." AAP: What kind of gear do you use? Camera, lens, digital, film? CA: "I try to use film as much as possible. Digital just doesn't do it for me. There is something natural and more real to me when I use film. Maybe it is because I slow down or take the images more seriously. I have a Bronica ETRS medium format camera with a fixed 85mm lens that is always on my back loaded with Kodak Portra film." AAP: Do you spend a lot of time editing your images? CA: "I can't hold still long enough to edit my images! I would rather be shooting than in front of a computer, which is partially why I shoot so much film. When I first started photographing, I got a job with a newspaper. With newspapers heavily editing images will cost you your job. It got me in the practice of shooting right the first time and learning how to shoot without relying on Photoshop to make my images speak." AAP: Favorite(s) photographer(s)? CA: "I am currently really into Jonas Bendiksen and Jim Goldberg. I have always loved Olga Chagaoutdinova, Diane Arbus, and Pierre Verger." AAP: What advice would you give a young photographer? CA: "Shoot all the time! Someone once told me that you need to make a lot of crap before anything good comes out of it." AAP: What mistake should a young photographer avoid? CA: "Following trends. Trends are in my opinion one of the worst things a photographer can follow. Your work will be catchy for a moment then once trends shift you will be left with having to redefine your personal style again only to possibly fall into the same trap. Shoot what you like, it will become your own style. Everyone else is already photographing the trends, try something different. Classic and well done photography will always be in style and you will always have work." AAP: An idea, a sentence, a project you would like to share? CA: "I am currently working on editing a project shot in Jordan about nomads who have been forced into settling but are resisting and moving back to caves and tents as they lived for thousands of years. That is a cool project I worked on all last winter, living in caves, collecting water, and walking with shepherds. That should be a pretty cool project once I get the storyline a little more organized." AAP: Your best memory as a photographer? CA: "I am so sentimental. I feel like every time I travel it was the best place yet, every person I photograph is so beautiful and interesting, and that every situation I have been in was the most idea. I guess that is part of the human experience and the glory of photographing. It is an excuse to walk with nomads, a reason to hitchhike across Russia, a motivation to travel and create. I already have a lifetime of memories and stories for grandchildren, and I am only 5 years into my career." AAP: Your worst souvenir as a photographer? CA: "I have a good handful of scars from not paying attention to where I'm walking while trying to get an image and a broken camera or two from sandstorms I was not prepared for." AAP: If you could have taken the photographs of someone else who would it be? CA: "Pierre Verger. He has such beautiful timeless style and dead perfect tonal ranges. He got to travel the world and experience so many things hands on from the Harlem Renaissance to religious ceremonies from underground cults in Brazil. I think he was working in just the right time and had some of the most guts from any photographer I have ever seen. He wasn't afraid and I love that about him."
Martin Parr
United Kingdom
1952 | † 2025
Martin Parr is a British photojournalist, documentary photographer, and collector of photobooks. He is renowned for his photography works that critically examine various facets of contemporary society, particularly English suburban and rural life. Since 1994, Martin Parr has been a member of Magnum Photos. Parr, who was born in Epsom, Surrey, intended to be a documentary photographer since he was fourteen, and credits his grandpa, an amateur photographer, as an early inspiration. He studied photography at Manchester Polytechnic from 1970 to 1973. In 1980, he married Susan Mitchell, and they have one child, Ellen Parr (born 1986). He has been a resident of Bristol since 1987. Spain. Benidorm. 1997Courtesy Magnum Photos / © Martin Parr Martin Parr began his career as a professional photographer and has taught photography on and off since the mid-1970s. He was first recognized in the north of England for his black-and-white photography, Bad Weather (1982) and A Fair Day (1984), but switched to color photography in 1984. Last Resort: Photographs of New Brighton, the resulting work, was published in 1986. Martin Parr has nearly 100 books published and has been featured in over 100 exhibitions worldwide, including one at the Barbican Arts Centre in London. His retrospective exhibition was chosen as the main show for Singapore's Month of Photography Asia in 2007. In 2008, he was named Honorary Doctor of Arts at Manchester Metropolitan University (MMU) in recognition of his ongoing contributions to photography and MMU's School of Art. The easy bit is picking up a camera and pointing and shooting. But then you have to decide what it is you’re trying to say and express. -- Martin Parr Martin Parr's documentary photography style is intimate, anthropological, and satirical. Macro lenses, ring flash, high-saturation color film, and, since it became a more convenient format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, allowing them to expose their lives and values in ways that often involve inadvertent humor. For example, in order to create his book Signs of the Times: A Portrait of the Nation's Tastes (1992), Parr went into ordinary people's homes and photographed the mundane aspects of his hosts' lives, combining the images with quotes from his subjects in order to bring viewers uncomfortably close to them. The end result of Parr's technique has been described as ambiguous emotional reactions, with viewers unsure whether to laugh or cry. IRELAND. Galway. Galway Races. 1997Courtesy Magnum Photos / © Martin Parr Parr is also a curator and editor. He has curated two photography festivals, one in Arles in 2004 and the other in Brighton in 2010. Parr recently curated the Strange and Familiar exhibition at the Barbican. Many major museums, including the Tate, the Centre Pompidou, and the Museum of Modern Art in New York, have acquired Martin Parr's work. In 2017, Martin Parr established the Martin Parr Foundation. Unless it hurts, unless there’s some vulnerability there, I don’t think you’re going to get good photographs. -- Martin Parr
Rohina Hoffman
United States
1968
Rohina is a fine art photographer whose practice uses portraiture and the natural world to investigate themes of identity, home, adolescence and the female experience. Born in India and raised in New Jersey, Rohina grew up in a family of doctors spanning three generations. While an undergraduate at Brown University, Rohina also studied photography at the Rhode Island School of Design and she was a staff photographer for the Brown Daily Herald. A graduate of Brown University Medical School and resident at UCLA Medical Center, her training led to a career as a neurologist. A skilled observer of her patients, Rohina was instilled with a deep and unique appreciation of the human experience. Her ability to forge the sacred trust between doctor and patient has been instrumental in fostering a parallel connection between photographer and subject. Rohina published her first monograph Hair Stories with Damiani Editore (February 2019) accompanied by a solo exhibition at Brown University’s Alpert Medical School. Hair Stories is held in many notable public collections including the Metropolitan Museum of Art, Getty Research Institute, Cleveland Institute of Art, and over 25 university libraries. Her second monograph, Embrace, with Schilt Publishing was released October 2022 (Europe) and January 2023 (U.S.) with a solo show of this work at the Griffin Museum of Photography (April 2023). In 2021, she was the winner of the Purchase Award with Atlanta Photography Group and several of her prints from her Generation 1.75 project were acquired by the High Museum of Art in Atlanta, Georgia. Her photographs have been exhibited in juried group shows both nationally and internationally in venues such as The Center for Fine Art Photography, Griffin Museum, Atlanta Photography Group, Colorado Photographic Arts Center, Los Angeles Center for Photography, Photo LA, and A. Smith Gallery. She has received numerous awards and has been published in Marie Claire Italia, F-Stop Magazine, Lenscratch, Shots Magazine, Dodho Magazine and Aesthetica Magazine among others.
René Groebli
Switzerland
1927
René Groebli (born October 9, 1927 in Zurich) is an exhibiting and published Swiss industrial and advertising photographer, expert in dye transfer and colour lithography. He grew up in the Enge district of the city of Zurich, where he attended the Langzeitgymnasium. After two years, he moved to the Oberrealschule, a science-oriented grammar school, but broke off this education after two years to begin an apprenticeship as a photographer with Theo Vonow in Zurich in 1944. When his teacher moved back to Graubünden, Groebli entered the preparatory course of the Zurich School of Applied Arts, attending from the spring of 1945. Subsequently, he enrolled in the renowned professional class for photography under the direction of Hans Finsler and Alfred Willimann until the summer of 1946. Amongst his fellow students were Ernst Scheidegger and Anita Nietz. In September 1946 Groebli began training as a documentary cameraman at Central Film and Gloria Film Zürich, graduating in late 1948 with a diploma, though he did not subsequently practice as a cinematographer. In 1947 he won third prize in a competition run by the monthly magazine Camera with his series Karussell. Freelancing for Victor-N. Cohen agency in Zurich, in 1948 Groebli made his first trip to Paris and in 1949 bought his first Leica. From 1949 Groebli worked as a photojournalist and carried out assignments for the Züri-Woche, and later in Africa and the Middle East for the London agency Black Star. The pictures were published in the magazines Life and Picture Post. His first small folio Magie der Schiene ('Rail magic') comprising 16 photographs (with front and back cover) was also shot in 1949 and self-published later the same year. It captures the ‘magic’ of steam train travel during the late 1940s. Despite being young and relatively unknown, Groebli was able to borrow enough money to finance the high-quality printing. Technically it is a portfolio rather than a book, with pages unbound and laid in loose, inspired by the Man Ray and Paul Éluard publication FACILE (1935) which he purchased on his first trip to Paris in 1948. Photographed with a Rolleiflex 6×6 and a Leica 35mm camera in and around Paris, as well as locations in Switzerland, the often motion-blurred and grainy images convey the energy of steam. An obi-band with German text was produced for the approximately 30 to 40 original preorders, and other copies sold without. He held his first solo exhibition with photographs from the book. He spent three months in Paris where he met Brassaï and Robert Frank and spent a month in London. On October 13, 1951 he and Rita Dürmüller (1923-2013) were married. A second slim picture book Das Auge der Liebe ('The Eye of Love'), self-published in 1954 through his business “Turnus”, was created in collaboration with his wife Rita Groebli. This small book, though respected for its design and photography, caused some controversy, but also brought Groebli attention. It was assembled from shots made on the belated honeymoon that the photographer and his wife Rita took over two weeks in Paris in 1952 and in the following year for a few days to Marseille, though publication of the photographs was not planned in 1953 Groebli sequenced it for a book, introducing a blank page to stand in for daytime in its chronology. In the Swiss Photorundschau, published by the Swiss Photographic Association, the editor Hermann König traded correspondence with a specialist teacher of the School of Applied Arts where the book had been passed around and argued over, the term "love" in the title being considered by students to be too sentimental given the obvious sexual connotations. Where the photographer’s intention was for a romantic effect, the editor admitted that the narrative was sexualized. In the leading periodical Neue Zürcher Zeitunghe, editor Edwin Arnet objected to the emphasis on nudity. Groebli sequenced his photographs to tell the story of a woman meeting a man in a cheap hotel. The last photograph shows the woman's hand with a wedding ring on her ring finger holding an almost finished post-coitus cigarette. In the perception of audiences of the era, the implication was that the woman had to be either an ‘easy woman’, a prostitute, or an unfaithful wife. However the U.S. Camera Annual review of the work in 1955 pronounced it "a tender photo-essay on a photographer’s love for a woman.” After the death of photojournalist Paul Senn in 1953 and the killing of Werner Bischof in Peru in 1954, Kurt Blum, Robert Frank and René Groebli were newly admitted to the Kollegium Schweizerischer Photographen. A major exhibition organized by the 'Kollegium' in 1955 convinced critics that a new "Swiss style" that was indeed moving towards Photography as Expression as the exhibition was titled, and the end of critical (later dubbed 'concerned') photography. However, the association was soon disbanded because of disagreements between Gotthard Schuh and Jakob Tuggener, and Groebli had by then relinquished photojournalism. In the same year, and with four other Swiss photographers, Werner Bischof, Robert Frank, Gotthard Schuh and Sabine Weiss, René Groebli was represented with a picture in the exhibition The Family of Man curated by Edward Steichen for the Museum of Modern Art in New York. His available-light photo shows a tight crowd of excited, dancing teenagers, their movement blurred in the style of Magie der Schiene. Groebli launched his own studio for commercial industrial and advertising photography in 1955 in the newly built residential and studio building in Zurich-Wollishofen. At the end of the 1950s, Groebli also had his home and studio converted and enlarged and in addition to two studios and two black and white labs, a dye transfer workshop with several laboratory workstations was added. In 1963 Groebli founded the limited partnership Groebli + Guler with lithographer Walter Guler, renamed 'Fotolithos' in 1968. The workplace in Zurich-Wollishofen was equipped with the latest and best technical facilities and through the 1960s and early 1970s the business employed a staff of up to twelve, with good profits made from servicing the advertising photography industry. After ten years producing specialist colour photography, dye transfer production and colour lithographs for commercial advertising and industrial photography, in 1965 Groebli published his third photo book Variation through Arthur Niggli Verlag, Teufen. It presented a retrospective of possibilities of Groebli’s colour photography, though with scant mention of the role of his many employees and business partners. In 1971 he issued a second edition Variation 2, with updated information on colour technology including Cibachrome. By the late 1970s, with the more widespread adoption and acceptance of chromogenic methods of colour production less technically demanding and cheaper than dye transfer, Groebli ceased commercial photography and colour production, sold his home and studio and retired, though he still maintained connections with the industry and presented a paper on dye transfer at the 1977 Rencontres d'Arles. Groebli returned to making personal photographic essays in colour and in black and white, in series titled Fantasies, Ireland, The Shell, Burned Trees, N. Y. Visions, New York Melancholia and Nudes. Over the decades of the turn of the century, he worked on his image archive and digitized the most important photographs that he had taken over a career of sixty years. Groebli currently resides in Switzerland.Source: Wikipedia
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Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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AAP Magazine #55 Women
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