All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Thierry Cohen
Thierry Cohen
Thierry Cohen

Thierry Cohen

Country: France
Birth: 1963

Thierry Cohen was born in Paris in 1963. He began his professional career in 1985 and is seen as one of the pioneers of digital photography. His work has been shown at the Palais de Tokyo, and the Musee de l”Homme in Paris, and in 2008 was an official selection of the Mois de la Photo. Since 2010 he has devoted himself to a single project – “Villes Enteintes” (Darkened Cities) – which depicts the major cities of the world as they would appear at night without light pollution, or in more poetic terms: how they would look if we could see the stars.

Cohen’s method is original and precise and harkens back to the methodologies employed by early 19th century photographers like Gustave Le Grey. He photographs the world’s major cities, seeking out views that resonate for him and noting the precise time, angle, and latitude and longitude of his exposure. As the world rotates around its axis the stars that would have been visible above a particular city move to deserts, plains, and other places free of light pollution. By noting the precise latitude and angle of his cityscape, Cohen is able to track the earth’s rotation to places of atmospheric clarity like the Mojave, the Sahara, and the Atacama desert. There he sets up his camera to record what is lost to modern urban dwellers.

Compositing the two images, Cohen creates a single new image full of resonance and nuance. The work is both political and spiritual questioning not only what we are doing to the planet but drawing unexpected connections between disparate locations. Equally importantly it asks: what do we miss by obscuring the visibility of stars? As the world's population becomes increasingly urban, there is a disjunction with the natural world which both Cohen and science posit causes both physical and psychological harm. Cities that never sleep are made up of millions of individuals breaking natural cycles of work and repose. Cohen’s photographs attempt to restore our vision, and in beautifully crafted prints and images offer the viewer a possibility - to re-connect us to the infinite energy of the stars.

Source: Danziger Gallery

 

Inspiring Portfolios

 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Oliver Stegmann
Switzerland
1970
I was born in 1970 in Basel, Switzerland. Since my late teen years, photography has become a key medium for me to express myself. Professionally, however, I took a different path, studying economics and now working in a management position. I'm married and a father of two lovely daughters. On many trips to different continents, I have continuously worked on improving my skills as a photographer and on developing my own visual language. I participated in various workshops of well-known photographers such as Mary Ellen Mark, Anders Petersen or Ernesto Bazan. Until 2007 I photographed exclusively with black-and-white film and made all prints in my own darkroom. In 2005, I started scanning the negatives, editing them in Photoshop and creating fine art prints. Two years later, I started to use also digital cameras. My long-term project on circuses behind the scenes is planned to be published as a photo book in 2021. My other on-going personal project is to document the childhood years of my children. Statement I love music, but I have never played an instrument. So the camera has become the "instrument" for my creative work: I compose images instead of songs. I prefer black and white photography because leaving out the colors, the way we usually see the world, directs the viewer's eye to the essence of the image. I have always had a passion for observing people. Their emotions, facial expressions, interactions, activities and personal moments inspire me. Photographing people is a way to communicate with them, to capture perhaps just a fraction of their lives. A powerful photograph becomes a true gift of the moment when it manages to capture some sort of mystery or magic. My photos are meant to transport the viewer into a world less known to them, perhaps reminding them of experiences long past or leading them mentally into a possible future. With my photos I do not want to tell everything, but deliberately suggest unanswerable behind what is shown.
Bettina Rheims
France
1952
Bettina Rheims, born Bettina Caroline Germaine Rheims is a French artist and photographer. She began her career with a series of images of striptease dancers and acrobats, and over the years she became one of the most notable persons behind the lens. "I adore flesh. I am a skin photographer," she says famously, and that perfectly explains her work. It is raw and erotic, frequently involving nudity and stuffed animals, and she achieves a visceral emotion that captivates the audience. Some of her most well-known pieces raise problems of gender, androgyny, and transsexuality. Although Bettina Rheims began with obscure and marginalized subjects, her later assignments included advertising campaigns for fashion and major brands like Chanel and Lancôme, as well as prominent international magazines. Madonna, Charlotte Rampling, Catherine Deneuve, Kylie Minogue, Claudia Schiffer, and many others were photographed by Rheims. And there's something indisputably human and true in every photograph she takes, perhaps too natural and personal. I have always believed that whether the work is my idea or a commission, it is personal work.... In the end, as my old master Helmut Newton used to say, there are only two kinds of pictures: the good ones and the bad ones. -- Bettina Rheims Bettina Rheims was born in Neuilly-sur-Seine, France. She is the daughter of the French Academy's Maurice Rheims. She began her career as a photographer in 1978, at the age of 26, after working as a model, a journalist, and running an art gallery. Initially, she accomplished a lot of commissioned work, such as record covers for Jean-Jacques Goldman and celebrity portraits. She devoted herself entirely to photography beginning in 1980. She created a series of images of strippers and acrobats, which were presented in two personal exhibits in Paris in 1981, at the Centre Pompidou and the Galerie Texbraun. Encouraged by her success, she began work on a series of plush animal portraits, which were shown in Paris and New York. In 1982, Rheims' Animal series allowed her to focus her lens on a different type of nudity: stuffed animals with fixed looks, "which seemed to desire to express something beyond death." "I had to capture their stare," the photographer claimed. The photographer questioned gender, androgyny, and transsexuality in Modern Lovers (1989-1990). Les Espionnes (1992) and Kim (1993) were two subsequent publications on the same subject (1994). At the same time she took portrait images for worldwide magazines and advertising campaigns (Well and Chanel), created her first fashion series, worked on cover sleeves, and film posters, and in 1986 directed her first advertising campaign. Her female portraits were published in a monograph, Female Trouble, in 1989, and exhibited in Germany and Japan. The next year, she created Modern Lovers, a series of portraits of androgynous youths that were presented in France, the United Kingdom, and the United States, as well as being published in book form. I still find myself having to justify being a woman taking pictures of naked women. It never occurred to me that there was something bizarre about it, it always felt very natural. -- Bettina Rheims Bettina Rheims began work on one of her major series, Chambre Close, in the early 1990s (1990-1992). This was her first color work, and it marked the beginning of her partnership with novelist Serge Bramly, in which her images were combined with the writer's fiction. Chambre Close is a parody of the first pornographic images in form — chambers with fading walls and old-fashioned wallpaper — but in substance, it attempts to stage amateur models in stances that play on the eroticism and misunderstanding between those looking and those displaying themselves. At the close of his presidential campaign in 1995, Jacques Chirac allowed Rheims to work behind the scenes on a series of images depicting the last moments of the election. Following the election, the French Republic's Presidency commissioned Bettina Rheims to create the official picture of Jacques Chirac. According to Libération, she intended to give the President "the easygoing look of the great heroes in westerns." The decade ended with the publishing of the book I.N.R.I. and its accompanying exhibition in 1999. I.N.R.I. constructs a philosophical debate on the history of the crucifixion through images of episodes from Christ's life, from the Annunciation to the Ascension, once again connecting the gaze of Rheims with the writing of Serge Bramly. Bettina Rheims advocated "modern illustrations, following the advent of photography, cinema, and advertising imagery, as if Jesus were to return today." The release of this work was highly contentious in France. During two long stays in Shanghai in 2002, Bettina Rheimsmade a series about the city. "The initial impressions of a visitor coming in Shanghai are of people with deep-rooted ancestral rituals and customs who have thrown themselves into the frenzied race of the modern world." Rheims, blending into this 'alternative way of thinking,' offers us a fresh perspective on the enigma that is China's coexistence with its millenary traditions, avant-garde facet, official elements, and underground qualities. Rheims exhibited Héroïnes, a piece that was essentially an homage to sculpture, at the Galerie De Noirmont in 2005. On this occasion, the photographer worked with designer Jean Colonna to outfit the women in unique outfits. "Thus, old haute couture gowns were reassembled on each of these contemporary icons. These unusually beautiful women then toyed with a stone, which became their pedestal for a brief while." Bettina Rheims collaborated with Serge Bramly again at the end of the 2000s, and Rose, c'est Paris was shown at the Bibliothèque Nationale de France in 2010. Bettina Rheims and Serge Bramly crafted a fictional thread from autobiographical parts for the photographic story. In this piece, Paris plays "the role of the muse more than the subject, and [appears] in an almost allegorical manner through the figures weaved into a story." A young woman we'll call B. is hunting for Rose, her twin sister who she thinks has vanished. Rose, c'est Paris is presented as a "great mysterious series," a genre beloved by surrealists, and is divided into thirteen episodes in which we discover, among other things, an unusual or obscure Paris that is voluntarily timeless." Exhibited in 2012 in Düsseldorf, the Gender Studies series pursues the questioning of gender representation. The device linking image and sound (by Frédéric Sanchez) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book. Rheims has also worked on advertising campaigns for fashion and big brands, such as Chanel and Lancôme, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by Diane Arbus and Helmut Newton as well as by the work of early painters.
Claude Cahun
France
1894 | † 1954
Claude Cahun (25 October 1894 - 8 December 1954), born Lucy Renee Mathilde Schwob, was a French Surrealist photographer, sculptor and writer. Schwob adopted the pseudonym Claude Cahun in 1914 and is best known for their self-portraits, in which they assume a variety of personae. Cahun's work was both political and personal, and often undermined traditional concepts of static gender roles. In their autobiography, Disavowals, they explained their rejection of gender, "Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me." This declaration is an important consideration when analysing Cahun's photography as they intentionally play with and subvert the viewers' understanding of gender. This quote, together with their unconventional appearance and their gender-ambiguous pseudonym, means that it is not infrequent to see the pronoun 'they' used nowadays in critical studies on Cahun. There is no evidence that they ever adopted 'they' as their preferred pronoun, but one should take into account the cultural and historical context behind this. Given that French pronouns were extremely binary and the use of gender neutral pronouns for nonbinary individuals wasn't common in the European interwar period, it isn't unreasonable to imagine Cahun would have used gender neutral pronouns had it not been for their environment. In any case, the use of the gender neutral pronouns in reference to Cahun is less of an attempt to apply contemporary norms to a historical figure, but rather a way for their gender to remain an open question in academia. During WWII, Cahun was also active as a resistance worker and propagandist. Source: Wikipedia
Masao Yamamoto
Masao Yamamoto was born in 1957 in Gamagori City, Aichi Prefecture in Japan. Although originally trained as a painter, he is one of the best known Japanese photographers working today. Yamamoto’s images are like fragments from a puzzle that capture an allusive, ineffable moment. He has produced several limited edition series of mixed media photographs, including Box of Ku, Nakazora, Kawa=Flow and most recently, Shizuku=Cleanse. He has published several books among them: Box of Ku, (Nazraeli Press, 1998); Nakazora (Nazraeli, 2001); The Path of Green Leaves (Nazraeli, 2002); Omizuao (Nazraeli, 2003); Santoka (Harunatsuakifuyu Sousho, Japan,2003); é (2005); Fujisan (Nazraeli, 2008); Yamamoto Masao, (Galerie Albert Baumgarten, Germany, 2009); Yamamoto, Masao (21st Editions, 2011); and Where we met: Yamamoto, Masao and Arpaïs du Bois (Lanoo Publishers, Belgium, 2011). Masao Yamamoto’s work has been exhibited all over the world, and his photographs are in many public and private collections including: the Museum of Fine Arts, Houston; the International Center of Photography; the Center for Creative Photography; the Santa Barbara Art Museum; the Victoria and Albert Museum; the Maison Européenne de la Photographie; and the Sir Elton John Collection. Source: Etherton Gallery Masao Yamamoto (born 1957 in Gamagori City in Aichi Prefecture, Japan) is a Japanese freelance photographer known for his small photographs, which seek to individualize the photographic prints as objects. Yamamoto began his art studies as a painter, studying oil painting under Goro Saito in his native city. He presently uses photography to capture images evoking memories. He blurs the border between painting and photography however, by experimenting with his printing surfaces. He dyes, tones (with tea), paints on, and tears his photographs. His subjects include still-lives, nudes, and landscapes. He also makes installation art with his small photographs to show how each print is part of a larger reality. Source: Wikipedia Masao Yamamoto's photography is known for evoking emotional power in the form of small-scale photographs. Photographer Masao Yamamoto (1957-present) was born in Aichi Prefecture in Japan. Originally interested in pursuing painting, studying oil painting specifically under Goro Saito. Though Masao Yamamoto eventually transitioned into photography in 1993, his painting background is apparent in his works’ painterly look, incorporating blurs and experimenting with printing surfaces; with many Masao Yamamoto photographs, he manipulated the silver gelatin prints through analogue, which means such as painting the images with tea or actual paint and tearing them. Subjects vary wildly, ranging from Japanese countryside to nude female bodies. Many liken Yamamoto’s art to haikus, considering his mastery of brevity and focus on everyday details. Yamamoto's photography and prints are on permanent display at museums like the J.P. Morgan Chase Art Collection as well as many other private, corporate and public collections. Masao Yamamoto's photography style is a study in tactile experience, encouraging viewer engagement through nuanced layers and unique museum and gallery installations. His extremely detail-oriented approach creates an intricate, ephemeral feel; each photograph is an isolated section of a larger series, like Box of Ku, which featured handheld-sized images. Most of his series work is unframed and artificially aged to mimic a tangibility, further lending to the accessibility. Masao Yamamoto has published many monographs, including Tori (Radius Books, 2016), Poems of Santoka (Galerie Vevais, 2016), Small things in silence, (Editorial RM, 2014), KAWA=Flow (Kochuten Books, 2011), YAMAMOTO MASAO (21st Editions, 2011), Fujisan (Nazraeli Press, 2008), é (Nazraeli Press, 2005), Omizuao (Nazraeli Press, 2003), Santoka (Harunatsuakifuyu Sousho, Japan, 2003), The Path of Green Leaves (Nazraeli Press, 2002) and A Box of Ku (Nazraeli Press, 1998). Masao Yamamoto's photography and prints are on display in museums and galleries across the United States, Japan, Europe, Russia and Brazil. His work is included in permanent collections like International Center of Photography, Victoria and Albert Museum, the Sir Elton John Collection. Masao Yamamoto has also had photographs hung at Jackson Fine Art, including solo shows Nakazora (2003) and A Box of Ku (1999) and group show Contemporary Japanese Photography. Source: Jackson Fine Art
Alan Henriksen
United States
1949
Alan Henriksen was born in 1949 in Richmond Hill, Queens, New York, and has lived his entire life on Long Island. He became interested in photography as a hobby in 1958, and began making contact prints in late 1959. His interest became serious following a chance discovery of the work of Edward Weston and Ansel Adams at the local library. Henriksen holds college degrees in Psychology and Computer Science and is now retired from a long career in software engineering. Beginning in the mid-1970?s he worked for nearly ten years at Agfa-Gevaert’s photo paper manufacturing plant on Long Island as a sensitometrist and software engineer. In the late 1980?s he authored a Zone System software program named ZoneCalc, which was marketed by the Maine Photographic Resource. In 1968 he and his wife Mary made their first visit to the Maine coast, starting a photographic project that continues to this day. They now divide their time between their homes in Smithtown, Long Island and Southwest Harbor, Maine. All about Alan Henriksen:AAP: When did you realize you wanted to be a photographer?Although I had already been photographing as a hobbyist for six years, my interest became more serious in 1964 when, during a library visit, I chanced upon Peter Pollack's book, "A Picture History of Photography," and opened it to the section devoted to the work of Edward Weston.AAP: Where did you study photography?My formal photographic education was limited to the 1970 Ansel Adams Workshop in Yosemite National Park.AAP:Do you have a mentor?In 1967 I composed a letter and sent it, along with some prints, to Ansel Adams in Carmel. Toward the close of his two-page single-spaced typewritten reply he wrote, "I want to follow your work and see more of your prints." This began a correspondence, soon supplemented with phone calls, that lasted until 1970, at which time I attended his Ansel Adams Workshop in Yosemite National Park.AAP: How long have you been a photographer?I began photographing in 1958, purely as a hobby, and began printing in 1959.AAP: Do you remember your first shot? What was it?The first photograph I remember taking was made in 1958. I photographed my neighbor while she was leaning into a baby carriage to tend to her child.AAP: What or who inspires you?I do not believe in inspiration; I believe in simply working, and working simply. When photographing, my ideas arise directly from my exploration of the subject matter at hand. But I cannot say why I find a certain bit of the world, seen from just such an angle, in a certain light, interesting.AAP: How could you describe your style?I do not consciously try to apply a style to my photographs. I believe in the maxim, "Style does not precede; it results." Although there is a kind of consistency to my photographs over the years, and more so during any particular period, that is presumably because I have remained roughly the same person.AAP: What kind of gear do you use? Camera, lens, digital, film?I currently work with a Canon 5D Mark II and various Canon lenses.AAP: Do you spend a lot of time editing your images?I take an iterative approach to image editing, generally performing several editing passes. I like to leave some time between each pass in order to help me see the image with fresh eyes during each session. I consider an image completed (for the time being) when I view the image and it seems to "work" as is. For some images the editing process is completed within a few sessions, while others take much longer.
Burk Uzzle
United States
1938
Burk Uzzle is an American photojournalist, previously member of Magnum Photos and president from 1979 to 1980. Burk Uzzle has spent his life as a professional photographer. Initially grounded in documentary photography when he was the youngest contract photographer hired by Life magazine at age 23, his work continues to reflect the human condition. For sixteen years during the 1970s and 1980s, he was an active contributor to the evolution of Magnum and served as its President in 1979 and 1980. While affiliated with the cooperative, he produced the iconic and symbolic image of Woodstock (showing Nick Ercoline and Bobbi Kelly hugging), helped people grasp an understanding of the assassination and funeral of Dr. Martin Luther King Jr., and powerfully projects comprehension of what it means to be an outsider - from Cambodian war refugees to disenfranchised populations without voice or agency to portraits of communities not identified on a roadmap. His life, philosophy, and continuing work was explored in the critically acclaimed 2020 documentary feature film F11 and Be There by director Jethro Waters. His archive spans more than six decades and captures much of the history of analog and digital photography. His current bodies of work rest deep in issues of social justice. A dozen years ago, Uzzle returned to North Carolina and now lives and works in two-century-old industrial buildings located in downtown Wilson not far from where he was born.Source: Wikipedia Burk Uzzle’s career, like his pictures, is a nuanced composition blending American culture, individual psyches of particular places and people, and an atypical way of seeing ourselves, our values, and our community. Always respectful yet locating the poignant or quirky, the history of his narrative belongs to all of us. Initially grounded in documentary photography when he was the youngest photographer hired by LIFE magazine at age 23, his work grew into a combination of split-second impressions reflecting the human condition during his tenure as a member of the prestigious international Magnum cooperative founded by one of his mentors Henri Cartier-Bresson. For 15 years, Uzzle was an active contributor to the evolution of the organization and served as its President in 1979 and 1980. During the 16 years, he was associated with Magnum, he produced some of the most recognizable images we have of Woodstock (album cover and worldwide reproduction of its iconic couple hugging at dawn) to the assassination and funeral of Martin Luther King Jr. to our comprehension for the experience of Cambodian war refugees. His archive spans almost six decades. His current work rests deep in photographic appreciation of the quiet, strong, and eloquent beauty he discovers in America’s small towns and its people. It is along small back roads, limned with feelings and a surety of surprise for the heart wide open, that continue to support his understanding of how America keeps its personality out on a limb. Uzzle’s current bodies of work are artful and constructed reflections of his subjects, many of whom are African-American residents proximal to his studio in North Carolina — a 100-year-old industrial building that hosted the production of automobiles to the manufacture of caskets. Their shared layers of experience are representatives of the now. In this space, individual transcendence offers history a look at contemporary life. Conjoined with Uzzle’s fundamental appreciation for unseen characteristics, he ably captures each in a collaborative, interpretive context with his eye and his heart. On the road and between the walls, his hope is for a graphic presentation of something universal within the particular, and all the better when involving a gentle chuckle and knowing smile.Source: www.burkuzzle.com
Arthur Tress
United States
1940
Arthur Tress (born November 24, 1940) is an American photographer. He is known for his staged surrealism and exposition of the human body. Tress was born in Brooklyn, New York. The youngest of four children in a divorced family, Tress spent time in his early life with both his father, who remarried and lived in an upper-class neighborhood, and his mother, who remained single after the divorce and whose life was not nearly so luxurious. At age 12 he began to photograph circus freaks and dilapidated buildings around Coney Island in New York City, where he grew up. Tress studied at Abraham Lincoln High School in Coney Island, and gained a Bachelor of Fine Arts at Bard College in Annandale-on-Hudson, New York. After graduating from Bard College in 1962, Tress moved to Paris, France to attend film school. While living in France, he traveled to Japan, Africa, Mexico, and throughout Europe. He observed many secluded tribes and cultures and was fascinated by the roles played by the shaman of the different groups of people. The cultures to which he was introduced would play a role in his later work. Tress spent the spring and summer of 1964 in San Francisco, documenting the Republican Convention that nominated Barry Goldwater, civil rights demonstrations at segregated car dealerships on Van Ness Avenue, and the Beatles launching their 1964 tour. Tress took over 900 photographs that were put away and re-discovered in 2009, and featured in a show at San Francisco's deYoung Museum. He currently resides in San Francisco, California. Source: Wikipedia Arthur Tress began his first camera work as a teenager in the surreal neighborhood of Coney Island where he spent hours exploring the decaying amusement parks. Later, during five years of world travel, mostly in Asia and Africa, he developed an interest in ethnographical photography that eventually led him to his first professional assignment as a U.S. government photographer recording the endangered folk cultures of Appalachia. Seeing the destructive results of corporate resource extraction, Tress began to use his camera to raise environmental awareness about the economic and human costs of pollution. Focusing on New York City, he began to photograph the neglected fringes of the urban waterfront with a straight documentary approach. This gradually evolved into a more personal mode of “magic realism” combining improvised elements of actual life with stage fantasy that became his hallmark style of directorial fabrication. In the late 1960s Tress was inspired to do a series based upon children's dreams that combined his interests in ritual ceremony, Jungian archetypes, and social allegory. Later bodies of work dealing with the hidden dramas of adult relationships and the reenactments of male homosexual desire evolved from this primarily theatrical approach. Beginning in the early 1980s, Tress began shooting in color, creating room-sized painted sculptural installations out of found medical equipment in an abandoned hospital on New York's Welfare Island. This led to a smaller scale exploration of narrative still life within a children's toy theater and a portable nineteenth-century aquarium. Around 2002, Tress returned to gelatin silver, exploring more formalist themes in the style of mid- century modernism, often combining a spontaneous shooting style with a constructivist's sense of architectural composition and abstract shape. In addition to images of California skateboard parks, his recent work includes the round images of the series Planets and the diamond-shaped images of Pointers. Source: www.arthurtress.com
Advertisement
April 2024 Online Solo Exhibition
April 2024 Online Solo Exhibition
April 2024 Online Solo Exhibition

Latest Interviews

Barbara Cole and Wet Collodion Photographs
Cole is best known for her underwater photography, but her other studio practice during the cold months in Toronto is an ongoing series of wet collodion photographs. This heavily analog process from the 19th Century is a years-long endeavor of revitalization and experimentation, offering modern day viewers an understanding of what it took to develop photographs in the early days of its invention. Cole has added her own unique take on the process by adding a layer of color in contrast to the usual sepia tones associated with the genre. The resulting wet plate photographs are tactile and dimensional dances between light and shadow, past and present, depicting women in timeless dreamscapes. We asked her a few questions about this specific project
Exclusive Interview with Michael Joseph
I discovered Michael Joseph's work in 2016, thanks to Ann Jastrab. I was immediately captivated by the power of his beautiful black and white photographs from his series 'Lost and Found.' His haunting portraits of young Travelers have stayed with me ever since.
Exclusive Interview with Debe Arlook
Debe Arlook is an award-winning American artist working in photography. Through color and diverse photographic processes, Arlook’s conceptual work is a response to her surroundings and the larger environment, as she attempts to understand the inner and outer worlds of human relationships. Degrees in filmmaking and psychology inform these views.
Orchestrating Light: Seth Dickerman Talks About his Passion for Photographic Printmaking
Seth Dickerman is a master manipulator of the wide spectrum of light densities that reflect off the surface of a photographic print and enter into our field of vision. His singular intent in making prints is to bring out the best an image has to offer, which means giving an image the ability to hold our attention, to engage us, and to allow us to discover something about an image that is meaningful and significant.
Exclusive Interview with Michel Haddi
Photographer and film director, Michel Haddi has photographed many high-profile celebrities while living in the USA including, Clint Eastwood, Martin Scorsese, David Bowie, Uma Thurman, Francis Ford Coppola, Cameron Diaz, Faye Dunaway, Nicholas Cage, Johnny Depp, Heath Ledger, Angelina Jolie, Janet Jackson, Jennifer Lopez, and many others. He also manages a publishing house, MHS publishing, which publishes his own books. Currently based in London we have asked him a few questions about his life and work
Exclusive Interview with Sebastien Sardi
In 2008, Swedish photographer Sebastian Sardi, inspired by an article exposing hidden mining-related incidents, embarked on a photography journey. Without formal training, he explored mines and ventured to India's Jharkhand state to document coal miners in Dhanbad, known as the "coal capital." His project, "Black Diamond," captured the lives of people, including men, women, and children, dedicated to coal extraction in grueling conditions.
Exclusive Interview with Debra Achen
Monterey-based photographer Debra Achen was born and raised near Pittsburgh, PA, where she developed a passion for both nature and art. She studied a variety of studio arts, including drawing, painting, and printmaking in addition to her training in traditional film and darkroom photography. Her project 'Folding and Mending' won the September 2022 Solo Exhibition. We asked here a few questions about her life and work.
Exclusive Interview with Steve Hoffman
Steve Hoffman is a documentary photographer who has who spent the last dozen years working with and photographing the people that live the housing projects in Coney Island. He was the winner of the July and August 2022 Solo Exhibition. We asked him a few questions about his life and work.
Exclusive Interview with Aya Okawa
Aya is passionate about exploring the natural world and protecting ecosystems and wild landsAll about Photo: Tell us about your first introduction to photography. What drew you into this world? Her project The Systems That Shape Us'won the February 2022 Solo Exhibition. We asked her a few questions about her life and her work.