Rising Photographers / O

Over her fifteen-year photographic career, Julia has navigated seismic shifts in her artistic trajectory, moving from travel photography toward contemporary art. The upheavals of the early 2020s profoundly altered her creative path. What began as an outward gaze turned inward, catalyzing a transformation in both process and purpose, driven by a search for meaning within uncertainty. Her work examines identity, perception, and the shifting nature of reality and memory.

This images are a part of a photographic reportage about the small ethnic group of Mundari. The Mundari are cattle herders of South Sudan, the world's youngest country, who dedicate their lives to the care of their Ankole Watusi cattle, characterized by their large horns. They live in symbiosis with their cattle and nothing is more important for them than their bovines. In a cattle camp, everyone plays their role.

Near the end of WWII, weakened by six years of extreme hunger, slave labor, and Typhus, my mother was liberated from Majdanek, a barbarous Nazi extermination camp where as many as 360,000, mostly fellow Jews, were brutally murdered. She made her way back to her former home in Radom Poland in search of fellow survivors and family. At great risk, she reentered her pre-war family home now occupied by uncooperative Poles, to reclaim a set of candlesticks and a few meters of peach charmeuse fabric from her former livelihood as a lingerie seamstress.

Roving circuses, in one form or another, have been enthralling cities and towns throughout the United States since the late 18th century. Despite the emergence of sophisticated, high-tech shows in the 20th century, a contingent of more modest regional companies preserve many of the age-old traditions. These circuses, where multi-talented crews appear under a canvas tent and feature acts illuminated by a single spotlight. Traveling from town to town these enterprises eke out just enough profit to survive the season. We owe these circuses a debt of gratitude, for it is they who maintain the essence of the past while adapting to the present. The Flynn Creek Circus, documented here, is one such special survivor. I am fortunate that my small northern California town has been a stop on their circuit every year for the past eight years. During this time, I have gotten to know many of the performers and have been warmly welcomed into their 'back-stage' lives.

This is the latest, or should that be, this morning’s chosen photos for my Portfolio in 10 A small portfolio that says “this is how I take photos” is a very elusive beast. But I think it is a good exercise for us photographers to try to put together.

War exposes the fragility of those least able to protect themselves. Hardship has touched everyone in Ukraine, yet older generations bear a particularly heavy weight — people whose entire lives have already been shaped by historical upheaval. This is a generation that survived Stalinist terror, industrialization, the Second World War, postwar hunger and reconstruction, the collapse of the Soviet Union and the turmoil of economic reforms. They learned to endure almost anything. But even their resilience has limits.

In this evocative 2025 series, internationally acclaimed British photographer Emmanuel Cole turns his lens toward the Purim celebrations in Stamford Hill, one of London’s most distinctive Jewish neighborhoods. The project marks a return to Cole’s first photographic passion: documenting the unseen or rarely observed communities of his native city with sensitivity, curiosity, and respect.

In this portrait series, I portray people who move me through what they do — actors, dancers, writers, performers. People who bring stories to life on stage, on screen, or on the page. They inspire me not only through their craft, but even more so through who they are. What matters most to me is the personal connection I share with them, and the mutual willingness to truly connect.

Photography has been a part of China's cultural landscape since the mid-1800s, coinciding with the arrival of European photographers in Macao during that period. Initially, in the 1850s, these photographers established studios primarily in coastal port cities. Over time, their Chinese apprentices and local competitors expanded their presence across various regions. By the close of the 19th century, photographic studios had proliferated in all major Chinese cities, offering services to the burgeoning middle-class population for capturing portraits during significant family events. Both Western and Chinese photographers actively documented everyday street scenes, pivotal wartime events, and notable personalities of the era. Photography also gained traction as a hobby among the affluent, with figures such as Empress Dowager Cixi frequently sitting for portraits. In the early years of the People’s Republic of China, state-sponsored photographers such as Hou Bo and Xu Xiaobing produced iconic images of Mao Zedong and other leaders, shaping a highly formalized visual culture. While these works were emblematic of the official style, alternative voices would emerge decades later. The early 1990s marked a period of remarkable creative resurgence in Chinese photography, fueled by socio-political changes and increasing exposure to international art practices. This resurgence, however, waned over the following decade amidst a climate of uncertainty and apprehension. Optimism from the embrace of capitalist principles and loosening restrictions in the 1980s gave way to somber reflection following the tragic events of the Tiananmen Square massacre on June 4, 1989. By 1992, economic reforms continued, but political liberalization abruptly halted. Amidst this tumultuous backdrop, artists found solace in creative endeavors, using photography to articulate emotions and perspectives. Unlike conventional street photography or photojournalism, these artistic expressions often took on an avant-garde and introspective tone. Within Beijing’s East Village, a vibrant community of free-spirited artists thrived. Rong Rong, for instance, captured poignant moments of performance art and co-founded the first Chinese conceptual art photography magazine, New Photo. Artists such as Ai Weiwei also began documenting performances and installations, blending photography with broader conceptual practices. In the present day, contemporary photographers primarily draw inspiration from international sources, driven by cultural exposure and, historically, limited access to their own photographic heritage. Unlike predecessors, modern photographers often prioritize aesthetic principles over documentary intent, aligning themselves with the ethos of visual artists. It remains imperative to explore the plurality of Chinese photography. Throughout the 20th century, there was a tendency to categorize the medium into predefined concepts, creating a sense of uniformity. Breaking from this notion is challenging, yet necessary, to recognize diverse expressions. What does it truly mean to be a Chinese artist in a digitally interconnected world, where camera-equipped devices are ubiquitous and censorship is increasingly difficult to enforce? While location continues to matter, the term “Chinese photography” can feel abstract. Nonetheless, China retains unique characteristics. In the early 2000s, photography was less prevalent, but today, many young people embrace the medium from an early age. This burgeoning interest coincides with rapid experimentation and bold innovation, prompting galleries to engage with artists in a continuous dialogue of introspection and risk-taking.. Photography in China continues to face challenges in terms of institutional support. Nevertheless, private initiatives are steadily emerging and helping to fill critical gaps. Among them, Huang Yunhe—director of OFOTO Gallery and founder of ANART Space in Shanghai—has expressed the ambition to establish a dedicated photography museum in China. While his efforts have been important in cultivating audiences and supporting emerging photographers, the impact of any single private initiative remains limited, and broader collaboration across institutions is essential to strengthen the photographic ecosystem. Developing photography as an art form in China requires long-term cultural investment, the nurturing of new talent, and the creation of platforms such as residencies, curated programs, and educational initiatives. This collective effort is reinforced by the work of major domestic institutions and galleries, including M+ Museum in Hong Kong, Blue Lotus Gallery in Hong Kong, Xie Zilong Photography Museum, M97 Gallery & Project Space, and Three Shadows Photography Art Centre, as well as online platforms such as Photography of China. Chinese photography is also gaining increasing visibility on the international stage. Galleries and institutions abroad—such as Eli Klein Gallery in New York City and PARIS-B (formerly Galerie Paris-Beijing)—regularly present work by Chinese photographers, contributing to broader recognition of their contributions to contemporary visual culture. Strengthening links between private initiatives, domestic institutions, and international platforms remains essential for building a sustainable and vibrant photographic culture in China. Here are 10 contemporary photographers featured on All About Photo you should know.