Oh Man is a series of seventeen large-format photographs, fifteen in color and two in black and white, created in Los Angeles from 2012 to 2013. Like Lise Sarfati’s previous series The New Life (2003), She (2009), and On Hollywood (2010), Oh Man is also set in the urban landscape. In this new work, Sarfati rejects the romantic picturesque. She continues to pursue a body of work which possesses a certain interior complexity and can neither be narrowed down to a singular or global perspective nor be perceived as an object.
Sarfati quotes Baudelaire regarding the series: “in certain almost supernatural states of the soul, the profundity of life reveals itself entirely in the spectacle, however ordinary it may be, before one's eyes. It becomes its Symbol.” She invests the city in a personal and metaphoric way. She rethinks what already exists. A primal vitality, visceral, unrestrainable, arising from rootlessness―men walking and the radical indifference of their bodies―occupies the empty heart of Los Angeles. She creates an image that is always engaged in a discourse with the viewer, an image in which we can project ourselves yet also feel free. The whole series is bathed in a solar light. This luminous point of view acts as an illumination on the image as if to light our vision. Sarfati worked very precisely on the choice of this intense solar light: “I worked on the distance to create an ambiguous link in the relationship between the man and the landscape. My images are large format but through their equilibrium allow the viewer total freedom to engage with the landscape or the human figure.”
The figures in the photographs, characters like those she defined in her series The New Life, She and On Hollywood, are ghostly here. Oh Man creates an uncanny feeling: the men are both anonymous and somehow familiar. They are filmed by surveillance cameras and become a detail of the virtual landscape. What J.G. Ballard, one of Lise Sarfati's references, concerning computerized surveillance systems calls: "an Orwellian nightmare come true, but disguised as a public service."
Oh Man gives us the feeling that we could be downtown in any US megalopolis. The American urban landscape in Sarfati's photographs scrolls along, the warehouses like a long list of signs without affect: United States Post Office, NAB Sound, Toys, Clothing, Handbag, Cosmetics.
Throughout her different series, Sarfati never ceases to interrogate herself on the void and the relationship between the man and the outside world. InOh Man we are swayed by the ambiguous sensation of the landscape, between the attraction to the void and the enjoyment of the space crossed by the walking man.
Anastasia Samoylova: Atlantic Coast opens a vast, quietly unsettling portrait of the American East Coast — one in which nostalgia, dislocation and transformation are sewn into the landscape itself. In this new monograph, Samoylova retraces the route pioneered by Berenice Abbott in 1954, journeying from Florida to Maine to revisit the places Abbott once documented, and to observe what has become of them decades later. Her images — in vivid color and stark black and white — reveal the tension between myth and reality, between promises of progress and the traces of decay or displacement.
Where once small towns and coastal communities had a certain stillness, Samoylova finds change carved into facades and roadside signs, into suburban sprawl and shuttered shopfronts. She frames these scenes with a photographer’s patience and a poet’s sensitivity — capturing abandoned diners, empty motels, decaying houses, ghostly intersections. At the same time, there is stubborn life: occasional portraits of people, wildlife, reminders that behind every sign of decline, someone, something endures.
Her book does not simply document physical places. It traces the shifting contours of identity, belonging and memory in a nation where the open road has long symbolized freedom — and where that ideal has become tangled with consumerism, environmental degradation, and socio-economic upheaval. Through Atlantic Coast, Samoylova asks whether the “American Dream” remains intact, or if it has fractured along with the towns her car passes through.
Reading this volume is to experience a slow, attentive journey — as a witness, as a traveller, as someone invited to reconsider what America has become. Her photographs linger, subtly unsettling the viewer’s assumptions about beauty, progress and decline. In its silence and restraint, the book whispers that memory, identity and place are fragile — and that every road carries stories worth listening to.
Coreen Simpson: A Monograph is the first major book dedicated to the influential photographer and jewelry designer whose career spans more than fifty years. As the second volume in the Vision & Justice Book Series—a groundbreaking initiative created by Dr. Sarah Lewis and coedited with Drs. Leigh Raiford and Deborah Willis—the monograph celebrates Simpson’s enduring impact on visual culture.
Simpson began her career as a journalist before turning to photography, capturing the richness of Black life, fashion, and identity. Her portraits of icons such as Grace Jones, Muhammad Ali, and Toni Morrison, as well as her iconic B-Boys series from the 1980s, showcase her eye for style, pride, and self-expression. The book also features her later work with collage and overpainting, alongside the story of her celebrated jewelry line, including the iconic Black Cameo worn by Rosa Parks and Rihanna.
Featuring original essays by leading voices such as Bridget R. Cooks, Rujeko Hockley, Awol Erizku, and Doreen St. Félix, as well as an in-depth interview by Deborah Willis, Coreen Simpson: A Monograph offers a multifaceted portrait of an artist whose work continues to shape the worlds of photography, fashion, and Black cultural history.
Explore the groundbreaking early work of Daido Moriyama, one of Japan’s most radical photographers, with this collectible, slipcased photobook.
Daido Moriyama (b. 1938) is one of Japan’s most renowned and prolific photographers. His diverse projects often focus on urban landscapes, exploring light and shadow, and form and abstraction. Using a handheld camera and high-contrast black-and-white film, Moriyama captures Tokyo’s chaotic streets and clandestine underbelly, revealing the darkness and strangeness beneath the surface.
Daido Moriyama: Quartet is a vital anthology of the four seminal photobooks that form the foundation of Moriyama’s career as a photographer: Japan: A Photo Theater, A Hunter, Farewell Photography, and Light and Shadow. Spanning the fifteen years during which he honed his techniques and unveiled his distinctive vision, these photobooks were originally released as limited editions in Japan and represent some of the most daring ventures in photographic publishing history. Edited by Mark Holborn, this compilation includes excerpts from Moriyama’s diaries, journals, and memoranda, offering intimate glimpses into the core of his creative process. Presented in a slipcase, this volume is essential for all Moriyama fans and anyone passionate about photography and visual culture.
An essential introduction to the complexities of visual representation, this book offers a critical new framework for understanding and practicing photojournalism in a global digital context.
Critical Photojournalism guides readers through a variety of ethical, technical and business skills, plus the mental health, self-care and safety considerations necessary to thrive in the field. Drawing on their extensive industry and teaching experience, the authors provide real-world advice on how to navigate the demands of the profession while addressing the impact that photojournalism has on society and ways that photojournalists can mitigate harm. Consideration is given to understanding and disrupting implicit bias and power structures in newsrooms, as well as issues around access, working in breaking news environments and balancing informed consent with varying media laws around the world. In accessible language, this book highlights the importance of collaboration and community engagement in contemporary photojournalism and encourages students to adopt a decolonial approach to their work. Readers will learn to balance the needs for accuracy and thoughtfulness with the priorities of a global, social-media-engaged audience.
This is a key textbook for those seeking a nuanced introduction to visual journalism and/or a fresh approach to their craft. This book is supported by a website which can be accessed at www.criticalphotojournalism.com. The website includes a full-length bonus chapter on video and photojournalism, interviews with professional visual journalists, further tips and tools, and a glossary of key terms.
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.
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.
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.
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.
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.
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed.
His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic.
We asked him a few questions about his life and work.
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.
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.
