All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
FINAL CALL TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
FINAL CALL TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
  1. Home
  2. All Photographers
  3. Modern Photographers
  4. Elke Vogelsang
Elke Vogelsang
Elke Vogelsang
Elke Vogelsang

Elke Vogelsang

Country: Germany
Birth: 1972

Elke Vogelsang is a commercial and editorial photographer living in Germany. Her work has been featured worldwide in renowned print and tv publications and campaigns including The Sunday Time Magazine, National Geographic, Die Zeit, The Bark magazine, Good Morning America, and many more.

Her works were exhibited in group and solo shows throughout the world, e.g. Paris, London, Lisbon, San Anselmo, and Singapore.

She's the author of the book "Nice Nosing You - for the love of life, dogs and photography" featuring her pictures.



Statement:
Dogs are funny characters. They find pleasure in the most mundane things.
My dogs are my joy, recreation, and constant source of laughter, though they can be shy and sad as well; they comfort me in bad times. They are members of the family, the kind I love to have around. I can never get into trouble with my dogs, because they are unpretentious and forgiving.
I would never say that I prefer dogs to humans-after all, some people mean the world to me; but I would definitely say that dogs enrich my life in numerous ways. My hope is that I give back to them at least half of what they give me.
As I try to explore in photography all the emotions I share with my dogs, I pay homage to them and also to life.

Website

elkevogelsang.com

 

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
Call for Entries
AAP Magazine #58 B&W
Publish your work in our printed magazine and win $1,000 cash prizes
© Carl Young
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Aga Szydlik
Aga Szydlik
United States
Aga began her professional career in Thailand as a fight photographer, where she developed a passion for Muay Thai. Later, she moved to Indonesia and South Africa for new experiences. Aga works with different NGOs and as an independent contributor, aiming to capture the essence of the people Aga photographs in a powerful and meaningful way. She actively supports human rights movements, environmental protection, and conservation efforts.
Vivian Maier
Vivian Maier
United States
1926 | † 2009
Vivian Dorothea Maier was an American amateur street photographer, who was born in New York City but grew up in France. After returning to the United States, she worked for about forty years as a nanny in Chicago, IL. During those years, she took about 100,000 photographs, primarily of people and cityscapes in Chicago, although she traveled and photographed worldwide. Her photographs remained unknown and mostly undeveloped until they were discovered by a local Chicago historian and collector, John Maloof, in 2007. Following Maier's death, her work began to receive critical acclaim. Her photographs have been exhibited in the US, England, Germany, Denmark, and Norway, and have appeared in newspapers and magazines in the US, England, Germany, Italy, France and other countries. A book of her photography titled Vivian Maier: Street Photographer was published in 2011. Many of the details of Maier's life are still being uncovered. Initial impressions about her life indicated that she was born in France, but further researching revealed that she was born in New York, the daughter of Maria Jaussaud and Charles Maier, French and Austrian respectively. Vivian moved between the U.S. and France several times during her childhood, although where in France she lived is unknown. Her father seems to have left the family for unknown reasons by 1930. In the census that year, the head of the household was listed as award-winning portrait photographer Jeanne Bertrand, who knew the founder of the Whitney Museum of American Art. In 1951, at 25, Maier moved from France to New York, where she worked for some time in a sweatshop. She made her way to the Chicago area's North Shore in 1956 and became a nanny on and off for about 40 years, staying with one family for 14 of them. She was, in the accounts of the families for whom she worked, very private, spending her days off walking the streets of Chicago and taking photographs, most often with a Rolleiflex camera. John Maloof, curator of Maier's collection of photographs, summarizes the way the children she nannied would later describe her: "She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. She wore a men's jacket, men's shoes and a large hat most of the time. She was constantly taking pictures, which she didn't show anyone." Between 1959 and 1960, Maier traveled to and photographed in Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy and the American Southwest. The trip was probably financed by the sale of a family farm in Alsace. For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue's children. As she got older, she collected more boxes of belongings, taking them with her to each new post. At one employer's house, she stored 200 boxes of materials. Most were photographs or negatives, but Maier collected other objects, such as newspapers, and sometimes recorded audiotapes of conversations she had with people she photographed. Toward the end of her life, Maier may have been homeless for some time. She lived on Social Security and may have had another source of income, but the children she had taken care of in the early 1950s bought her an apartment in the Rogers Park area of Chicago and paid her bills. In 2008, she slipped on ice and hit her head. She did not fully recover and died in 2009, at 83.Source: Wikipedia Sometime in 1949, while still in France, Maier began making her first photographs with a modest Kodak Brownie– an amateur camera with only one shutter speed, no focus control, and no aperture dial. In 1951, she returned from France alone and purchased a Rolleiflex camera the following year. In 1956, she moved to the North Shore suburbs of Chicago, where a family employed her as a nanny for their three boys. She enjoyed the luxury of a darkroom as well as a private bathroom, enabling her to process prints and develop her own rolls of black and white film. As the children entered adulthood, Maier had to seek other employment, forcing her to abandon developing her own film. Moving from family to family thereafter, her rolls of undeveloped, unprinted work began to collect. It was around this time that Maier decided to switch to color photography. Her subject matter shifted away from people to found objects, newspapers, and graffiti. In the 1980s, financial stress and lack of stability once again put Maier’s processing on hold, and the undeveloped color rolls began to accumulate. Sometime between the late 1990s and the first years of the new millennium, Maier put down her camera and stored her belongings while she tried to stay afloat. She bounced from homelessness to a small studio apartment, which a family she used to work for helped pay the rent. With meager means, the photographs in storage became lost memories until 2007, when they were sold off due to non-payment of rent. In 2008, Maier’s health began to deteriorate after she fell on a patch of ice, forcing her into a nursing home. She never made a full recovery, leaving behind an immense archive of work when she died in 2009.Source: Howard Greenberg Gallery When John Maloof, a real-estate agent, amateur historian, and garage-sale obsessive, acquired a box of photographic materials and personal detritus at an auction in suburban Chicago in 2007, he quickly realized that he had stumbled upon an unknown master of street photography. But despite his vigorous snooping, he could find no record of Vivian Maier, the name scribbled on the scraps of paper that he found among the negatives, prints, and undeveloped rolls of film. He tracked down the rest of the boxes emptied from an abandoned storage garage, amassing a collection of hundreds of thousands of frames shot in New York, Chicago, France, South America, and Asia between the nineteen-fifties and the nineteen-seventies. Two years after he bought the first box, he Googled the name again and, to his surprise, found an obituary announcing that Vivian Maier had died only a few days before. The short text had just enough information for Maloof to deduce that Maier had worked as a nanny in suburban Chicago.Source: The New Yorker
Jesse Marlow
Jesse Marlow
Australia
1978
Jesse Marlow is a Melbourne based photographer. His works are held in public and private collections across Australia, including the National Gallery of Victoria, Australian Parliament House Canberra, Monash Gallery of Art, City of Melbourne and State Library of Victoria. In 2003, he published his first book of photographs, Centre Bounce: Football from Australia's Heart, (Hardie Grant Books). Images from Centre Bounce have been exhibited and published extensively, both in Australia and internationally. In 2005, he published a book of street photographs, Wounded, (Sling Shot Press). In 2006, he was selected to participate in the World Press Photo Joop Swart Masterclass in Amsterdam. While in 2010, Marlow was one of 45 street photographers from around the world profiled in the book, Street Photography Now (Thames & Hudson). He was awarded the International Street Photographer of the Year Award in 2011, and in 2012 won the Monash Gallery of Art's Bowness Prize. Marlow released his third monograph, Don't Just Tell Them, Show Them in 2014. In the same year, he was profiled in the Thames & Hudson book, The World Atlas of Street Photography. In 2020, Marlow published his 4th monograph Second City. Since 2015, Marlow has been a Leica Ambassador. He is a member of both the international street photographers' collective, UP Photographers and Institute Artists.
Rania Matar
Rania Matar
Lebanon/United States
Rania Matar was born and raised in Lebanon and moved to the U.S. in 1984. As a Lebanese-born American woman and mother, her cross-cultural experience and personal narrative inform her photography. Matar's work has been widely published and exhibited in museums worldwide, including the Museum of Fine Arts Boston, the Carnegie Museum of Art, National Museum of Women in the Arts, and more. A mid-career retrospective of her work was recently on view at the Cleveland Museum of Art, and at the Amon Carter Museum of American Art, in a solo exhibition: In Her Image: Photographs by Rania Matar She has received several grants and awards including a 2018 Guggenheim Fellowship, 2017 Mellon Foundation artist-in-residency grant at the Gund Gallery at Kenyon College, 2011 Legacy Award at the Griffin Museum of Photography, 2011 and 2007 Massachusetts Cultural Council artist fellowships. In 2008 she was a finalist for the Foster Award at the Institute of Contemporary Art/Boston, with an accompanying solo exhibition. Her work is in the permanent collections of several museums, institutions and private collections worldwide. So far, she has published the following books: L'Enfant-Femme, 2016; A Girl and Her Room, 2012; Ordinary Lives, 2009, and more recently, SHE, 2021. She is currently an associate professor of photography at the Massachusetts College of Art and Design. SHE: As a Lebanese-born American woman and mother, my background and cross-cultural experiences inform my art. I have dedicated my work to exploring issues of personal and collective identity through photographs of female adolescence and womanhood - both in the United States where I live and the Middle East where I am from - in an effort to focus on notions of identity and individuality, within the context of the underlying universality of these experiences. In my continuous exploration of what it is like to be a girl and a woman today, in a world that poses endless questions on girls and women of all backgrounds, I am focusing in this project on young women in their late teens/early twenties. They are the ages of my daughters - they are leaving the cocoon of home, entering adulthood and facing a new reality they are often not prepared for, a humbling reality most often harder than they expected and less glamorous than what is portrayed on social media. Whereas in A Girl and Her Room, I photographed young women in relationship to the curated and controlled environment of their bedrooms, I am photographing them here in the larger environment they find themselves in after they leave home, the more global backdrop that now constitutes their lives in transitions. I want to portray the raw beauty of their age, their individuality, their physicality, their mystery, and the organic relationship they create with their environment, being in the lush landscapes of rural Ohio, or the textured backdrops of Beirut. I want to photograph them, the way I, a woman and a mother, see them: beautiful, alive. I want to create a personal narrative with them. The process is about collaboration and empowerment, and the photo session always evolves organically as the women become active participants in the image-making process. My work addresses the states of 'Becoming' - the beauty and the vulnerability of growing up - in the context of the visceral relationships to our physical environment and universal humanity. By collaborating with women in the United States and in the Middle East - and while still looking to reveal the individuality of each young woman - I focus on our essence, our physicality and the commonalities that make us human, ultimately highlighting how female subjectivity develops in parallel forms across cultural lines. Articles: Find out more about Becoming Where Do I Go?
Deborah Bay
Deborah Bay
United States
Deborah Bay is a Houston artist who specializes in constructed studio photography. She has exhibited most recently at Photo London Digital 2020, Foto Relevance (Houston), Texas Contemporary 2018 and 2019 and Photoville Brooklyn. Her work is in the collection of the Museum of Fine Arts Houston, Center for Creative Photography at the University of Arizona in Tucson and Dorsky Museum of Art at State University of New York at New Paltz. LensCulture and the Griffin Museum of Photography highlighted images from her Traveling Light series in on-line features earlier this year, and the British Journal of Photography has published her work on its cover. Her work was recognized in the Texas National 2018, and she was a finalist for Artadia Houston 2015. An active member of the Houston arts community, she has served on the board of the Houston Center for Photography and its Advisory Council. She holds graduate and undergraduate degrees from The University of Texas at Austin. Statement: My work explores the beauty of light and color. It builds on a studio practice that has focused for the past 15 years on constructed, macro photography. The images in the work presented here bring together an eclectic set of influences, ranging from geometric constructivism to color field. After collecting an assortment of prisms and lenses, I became interested in capturing how light and color interact with optical materials - seeming to bounce nonchalantly across surfaces, yet strictly bound by the laws of physics. Lenses and prisms were layered and stacked at angles to capture light wrapping around form. Chromatic geometries emerged from the planes and lines of color created using film gels. In my practice the camera often is a tool for highlighting details of physical phenomena that are overlooked or not easily observed. Particularly intriguing is the mystery created by the juxtaposition of scale - making close-up images of small objects and showing them as prints at many times their actual size. The images were produced in-camera and follow in the lineage of experimental studies exploring the most elemental components of photographic processes: light and lenses.
Sharon Tribelsky
Sharon Tribelsky
Israel
Professional photographer. Live in Israel. Most of my work is landscape photography and street photography from all over the world. For the last 5 years I have been taking a lot of drone images and always trying to find the most interesting point of view. I am looking for the best light and the perfect timing for my shoots with my DSLR and drone. Point of View The 'Point of view' series is made of images I took from an unusual point of view mainly with a drone, trying to look at all kinds of places and things in a surprising way that is impossible to see in everyday life. Pools and waterparks are great places for this kind of images for all the colors and shapes combined together.
Matej Michalik
Matej Michalik
Slovakia
1981
"My name is Matej Michalik. I was born in 1981 and live in Bratislava, Slovakia. I came in contact with photography in 2010. Apparently, I belong to the new wave of photographers who didn’t go through the analogue era and developing films in darkrooms but ended up in times of digital cameras instead. I am convinced that no matter how expensive your photography gear is, having a good imagination is essencial. From the beginning, my intuition was leading me towards black and white photos. I began observing the work of several fine art photographers whose work I enormously appreciate. I started communicating with them, sharing pieces of advice and experience. That‘s how it all started." -- Matej Michalik
Patrick Joust
Patrick Joust
United States
1978
Patrick Joust is a 32 year old photographer living in Baltimore, Maryland. Born in Oroville, California, Patrick has gone back and forth between both coasts of the United States, before settling permanently in Baltimore in 2006 where he works as a librarian for the city library system. He started to take photography seriously about 8 years ago, but it wasn’t until he lived in Baltimore that he finally started to regularly capture and convey something close to what he wanted. Within his own city and in his travels, photography has helped Patrick to place reality within context. The complex nature of a photograph, of how it can be both truthful and false to its subject, sometimes at the same time, is part of the reason why he finds the work so fascinating. He mostly shoots film and enjoys playing around with multiple cameras in multiple formats and he enjoys following the work of others.
Marion Post Wolcott
Marion Post Wolcott
United States
1910 | † 1990
Marion Post (later Marion Post Wolcott) (June 7, 1910 - November 24, 1990) was a noted American photographer who worked for the Farm Security Administration during the Great Depression documenting poverty and deprivation. She was born in New Jersey. Her parents split up and she was sent to boarding school, spending time at home with her mother in Greenwich Village when not at school. Here she met many artists and musicians and became interested in dance. She studied at The New School. She trained as a teacher and went to work in a small town in Massachusetts. Here she saw the reality of the Depression and the problems of the poor. When the school closed she went to Europe to study with her sister Helen. Helen was studying with Trude Fleischmann, a Viennese photographer. Marion showed Fleischmann some of her photographs and was told to stick to photography. While in Vienna she saw some of the Nazi attacks on the Jewish population and was horrified. Soon she and her sister had to return to America for safety. She went back to teaching but also continued her photography and became involved in the anti-fascist movement. At the New York Photo League, she met Ralph Steiner and Paul Strand who encouraged her. When she found that the Philadelphia Evening Bulletin kept sending her to do "ladies' stories," Ralph Steiner took her portfolio to show Roy Stryker, head of the Farm Security Administration, and Paul Strand wrote a letter of recommendation. Stryker was impressed by her work and hired her immediately. Her photographs for the FSA often explore the political aspects of poverty and deprivation. They also often find humor in the situations she encountered. In 1941 she met Lee Wolcott. When she had finished her assignments for the FSA she married him, and later had to fit in her photography around raising a family and a great deal of traveling and living overseas. Source: Wikipedia A biographical sketch by Linda Wolcott-Moore "As an FSA documentary photographer, I was committed to changing the attitudes of people by familiarizing America with the plight of the underprivileged, especially in rural America... FSA photographs shocked and aroused public opinion to increase support for the New Deal policies and projects, and played an important part in the social revolution of the 30s", said Marion Post Wolcott. Beginning in September of 1938, Wolcott spent three and a half years photographing in New England, Kentucky, North Carolina, Florida, Louisiana and Mississippi. A photographic pioneer on America's ragged economic frontier, Wolcottt survived illness, bad weather, rattlesnakes, skepticism about a woman traveling alone and the sometimes hostile reaction of her subjects in order to fulfill her assignments from the Farm Security Administration (FSA). Unique among FSA photographers, Wolcott showed the extremes of the country's rich and poor in the late 30's, its race relations, and the fertile land formed with government assistance, which revealed the benefits of federal subsidies. Her work has a formal control, emotional reticence and keen wit.(...) Marion Post entered the 20th Century on June 7, 1910, one of two daughters of Marion (Nan) Hoyt Post and Dr. Walter Post. The Posts were a prominent family in Montclair, New Jersey where Dr. Post was the local physician, a homeopathist, in those days, the leading type of medicine. The Posts ended their marriage when Marion was a young teenager, and she and sister Helen were packed off to boarding school. At Edgewood School in Greenwich, Connecticut, removed from the trials of her parents’ bitter and heart-rending divorce, Marion thrived in a progressive atmosphere which fostered open inquiry, flexibility and individuality. Throughout those early years, she also had a very close, loving relationship with the Post’s black housekeeper, Reasie, a relationship that gave Marion an ease and empathy with the blacks she would later photograph in the fields and juke joints of the deep South. On weekends and in the summer--whenever possible--she spent time with her mother, Nan, in her tiny Greenwich Village apartment in New York City. Nan was working with Margaret Sanger helping to set up health and birth control clinics around the country, a pioneer in her own right and an inspiration to Marion. In "The Village," mother and daughter hung out with musicians, artists, writers and members of the theatrical crowd, went to art exhibits, lectures and concerts, and after graduation from Edgewood, Marion fell in love with, and began studying, modern dance. At the same time she was working her way through school as a teacher of young children, pursuing her interest in early childhood education at the New School for Social Research, and then at New York University. As the Great Depression began to impact the working people around her, she witnessed dramatic class differences among those living in the small Massachusetts town where she was then teaching.(...) Soon after, in 1932, Marion traveled to Europe to study dance in Paris, and later, child psychology at the University of Vienna. There she met Trude Fleischmann, a Viennese photographer with whom her sister Helen was studying. Upon seeing Marion's first photographic images, Trude encouraged her to continue. "Sis," you've got a good eye," she exclaimed, a line Marion Post would never forget, although she was quite reticent about encroaching upon the territory of her sister, Helen, long considered the artist in the family. Meanwhile, a horrified young Marion and Helen were witnessing the rise of Nazism and Fascism in Europe. Of their friends, again many were musicians, artists, and young intellectuals. Many also were Jewish, and Marion watched as swastikas burned in front of the homes of her anti-Nazi friends, and their fields and fences were set ablaze. She was further rocked by the assassination, during the winter of 1933-34, of Austrian Chancelor Dolfuss and the bombing of apartments of socialist workers near Vienna. Lending a hand, she spent several months working in the local schools with the children of Austrian workers. It was too dangerous, however, for her to stay; the University of Vienna had been closed, and Marion was told either to return home or give up her small allowance. Back in the States, she took a teaching position at the progressive Hessian Hills School at Croton-on-Hudson. Here she began taking more photographs and making her first prints. Close to New York, she also became active in the League Against War and Fascism, and, together with Helen, helped Jews, including Trude Fleischmann, leave Europe and immigrate to the United States. She had friends in the socially and politically concerned Group Theatre who became both subjects and clients, and she published her first work in Stage Magazine. Encouraged by her progress, a year later, at twenty-five, Marion moved to New York and began freelancing, even landing a picture on the cover of the New York Times Magazine. She also began attending meetings of the New York Photo League, an important organization that was influencing many of the country's best young photographers. There Marion met Ralph Steiner and Paul Strand who, upon seeing her work, asked her to join a group of serious young photographers who met at Steiner's apartment to discuss and critique each other's photography.(...) Needing more certain wages, Marion accepted a position as a staff photographer for the Philadelphia Evening Bulletin. As a young woman, however, she was required to do stories on the latest fashion and events for the ladies' page, hardly compelling assignments for a young woman of 25 with her background and experiences! Mentioning her frustrations to Ralph Steiner one day, he took her portfolio with him to Washington, to Roy Stryker, head of the Farm Security Administration. Stryker was impressed, asked to meet her. So, armed with letters of recommendation from no less than Paul Strand and Ralph Steiner, Marion Post set off for Washington. She was hired immediately, and joined the ranks of the other FSA photographers, Dorothea Lange, Walker Evans, Russell Lee, and Arthur Rothstein, among them. From 1938 through 1941, Marion produced many of the most vividly moving of the more than 100,000 images in the FSA archives, reflecting her many years of social and political involvement, her strength and independence, and her deep sensitivity to the children and families of the less fortunate. The Farm Security Administration had been mandated by President Franklin D. Roosevelt to assist American farmers who had suffered grievously during the Depression. Families were stranded and starving; soil was worn out, unfit for production.(...) Segregation and discrimination; humiliation and condescension; labor movements; eroded, worn-out land; dirty, sick, malnourished children; overcrowded schools. She traveled primarily alone, got tired and lonely and sick and burned out. She had to wrap her camera in hot water bottles to keep the shutters from freezing; write captions at night in flimsy motel rooms while fending off the men trying to enter through the transoms; deal with southern social workers, suspicious cops, chiggers and mosquitoes; mud, heat, and humidity.(...) In 1941, Marion met the man she wanted to marry--Lee Wolcott, a handsome, bright assistant to Henry Wallace, Secretary of Agriculture under President Roosevelt. Marion completed her assignments and left the FSA in order to raise a family, tend their farms, and later to live and travel extensively overseas. Both passionate, eager, curious, intellectual, they developed interesting modern art and music collections; had interesting, involved friends; were deeply committed to the raising and educating of four accomplished children, and with mentoring their grandchildren. Although she did not again work as a "professional," largely due to the demands of family and overseas living and traveling, she captured numerous serious images of farming in rural Virginia, and later in Iran, Egypt, Pakistan, India, and Afghanistan. Upon returning to the States, she taught and photographed American Indian children in New Mexico, did a series on the ‘70’s counter-culture in Isla Vista, California, and in Mendocino, California. She also was actively involved with the photography communities in both San Francisco and Santa Barbara where she helped, encouraged, and inspired, and was loved by many younger artists, worked with museum and gallery curators, and, in the 80’s, at the urging of the same, undertook a massive project to produce an archive of fine prints of her work of both the FSA and later years.(...) Letter from Paul Strand "Dear RoyIt gives me pleasure to give this note of introduction to Marion Post because I know her work well. She is a young photographer of considerable experience who has made a number of very good photographs on social themes in the South and elsewhere... I feel that if you have any place for a conscientious and talented photographer, you will do well to give her an opportunity."--Paul Strand 6-20-38 Marion's favorite image "I guess if I had to pick one, just one, favorite image, it would be the Negro Man Going Up the Stairs of the Movie Theatre. I think it says the most about me, about what I was trying to do and trying to say." (Conversation with her daughter, Linda)
Advertisement
AAP Magazine #58 B&W
Win a Solo Exhibition in July
AAP Magazine #58 B&W

Latest Interviews

Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
Interview
Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Read the full interview
Exclusive Interview with Frank Meo
Interview
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
Read the full interview
Exclusive Interview with Carolyn Moore
Interview
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Read the full interview
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Read the full interview
Exclusive Interview with Matthew Finley
Interview
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Read the full interview
Exclusive Interview with Jan Janssen
Interview
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Read the full interview
Exclusive Interview with Henk Kosche
Interview
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Read the full interview
Exclusive Interview with Anastasia Samoylova
Interview
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Read the full interview
Exclusive Interview with Marijn Fidder
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.
Read the full interview
Call for Entries
AAP Magazine #58 B&W
Publish your work in our printed magazine and win $1,000 cash prizes
© Christine Huebner
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
© 2026 © All-About-Photo.com, All Rights Reserved  •  Photographs © the Respective Artists, All Rights Reserved.