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Erin Mahoney
Erin Mahoney
Erin Mahoney

Erin Mahoney

Country: United States

"I am a photographic educator and fine art photographer interested in creating photography through digital capture and historical photographic printing processes. I currently teach photography courses in San Francisco, CA."
 

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More Great Photographers To Discover

Gueorgui Pinkhassov
France / Russia
1953
Gueorgui Pinkhassov is a photographer, born in Moscow in 1953. He is a member of Magnum Photos. Pinkhassov began his interest in photography in his teens, and enrolled at the Moscow Institute of Cinematography (VGIK) in 1969. Following college and two years in the army, he joined the film crew at Mosfilm. Continuing his interest in still photography he became a set photographer at the studio. His work was noticed by the film director Andrei Tarkovsky, who invited Pinkhassov to work on the set of his film Stalker. Being awarded independent artist status by the Moscow Union of Graphic Arts in 1978 allowed Pinkhassov far more freedom to travel, allowing him to exhibit his work internationally. In 1979 his work was noticed outside of Russia for the first time, in a group exhibition of Soviet photographers held in Paris. Previously, his work had mainly been seen in a number of Russian magazines, including L'artiste Sovietique. His acceptance by the Magnum Photos agency in 1988 opened up his work to a wider audience. He worked for the international media covering major events in Lithuania, Mongolia, Indonesia, and Africa. Returning to Moscow to cover the 1991 Coup, for the New York Times. In 1995, he received a photographic scholarship from the city, and in 1998, he published the book Sightwalk, photographs of Japan. Pinkhassov is now a French citizen, living in Paris.Source: Wikipedia Gueorgui Pinkhassov is known for his vivid art-reportage, which elevates the everyday to the extraordinary. His richly-colored images are absorbing, complex and poetic—sometimes bordering on an abstraction which embraces the visual complexity of contemporary life. As well as his global documentary work, Pinkhassov has photographed iconic cultural events from Cannes Film Festival to backstage at Paris Fashion Week. “It is foolish to change the vector of chaos. You shouldn’t try to control it, but fall into it” he says of his approach. Born in Moscow in 1952, Pinkhassov’s interest in photography began while he was still at school. After studying cinematography at the VGIK (The Moscow Institute of Cinematography), he went on to work at the Mosfilm studio as a cameraman and then as an on-set photographer. He joined the Moscow Union of Graphic Artists in 1978, which allowed him more freedom to travel and exhibit internationally. His work was soon noticed by the prominent Russian filmmaker Andrei Tarkovsky, who invited him to make a reportage about his film Stalker (1979). Recent work includes his study of Blackpool Illuminations in 2018, an ongoing series of city portraits illuminating places as varied as Beirut, Lisbon, Venice, Moscow and Nancy, and his coverage of the clashes between Anti-government protesters and police in the Ukrainian capital, Kyiv in 2014. Today, he works regularly for the international press, particularly for Geo, Actuel and The New York Times Magazine. He joined Magnum Photos in 1988.Source: Magnum Photos
Gautam Narang
United Kingdom
1984
I found photography by mistake, when doing my GCSE, I was sitting in the study room, then heard a teacher describe the subjects they taught at the school. As he was going through the subjects, he mentioned photography. I thought to myself was this a subject? Photography! It's so easy, all you do is click (How, wrong I was, how very wrong) *sigh*. As a child I used to play around with cameras. I always looked through them as was interested In them. So I sat in the lesson and was very enthusiastic to start a creative art. The journey had begun. One of the first subjects I started to picture was boats .....mmm yes boats. I lived near a canal and started to photograph boats. I don't know why I picked boats, it's quite sad when I look back, but that was one of my subjects. I took thousands of photographs, trying to make the subjects look Interesting. I remember one day I took all my photographs and filled up a whole table. The obsession had started but I hadn't known. Pictures now filled my room. From the start I always wanted to show my best. I would keep a box of my best photographs and then throw away all the one's I didn't like. I always feel the next picture is my favorite picture, wanting to create new work. As I progressed through my studies, I became distracted. There were so many subjects to do and I tried them all. One week I was doing art of history, then chemistry. I then dropped them all and just focused on photography. To this day, I follow photography. I have learned a lot but I am still confused on what to do next. I love what I do, but everybody tells me go into other things. Photography is more than clicking a button. From my first trip In India I have learned more about life then I would from anything. It teaches you to look, understand and observe rather then just walk away.All about Gautam Narang:AAP: When did you realize you wanted to be a photographer?Well after high school, I pretty much knew that is something that I’ve wanted to do, and it’s pretty much all that I’ve pictured myself doing. I’ve tried office jobs, but they usually don’t work, for example being an assistant was not a great experience. Order wold be forgotten and i’m not a office type or person, the stress kills me. So i’ve always gratiated to something creative.AAP: Where did you study photography?I studied at HND Photography at City and islington. Was the youngest student, out of the program my closet friend was Robert Harper who does amazing fashion photography. We used to chill and take pictures, it was really nice experience. Education to me, especially in the arts isn’t what i’ve expected it to be. The real learning happens when your out of school, and making friends with like minded pepole, finding who you are, I know it sounds like a really simple question, but you get asked “Who are you? What is your favorite movie? Favorite Artist and etc.” These days things are getting competitive and to really stand out is to have strong connections with people. AAP:Do you have a mentor?Yes, the teacher at my school. He was in 60’s and was my best friend, he taught me a lot on business, being an artist, encouraged me, let me use his studio and gave experience in the studio with while doing still life photography. He would also make all his own equipment, was really cool learning from him. My other mentor was Jasper James, he introduced me to style. He showed me that movies could be arty, before that I didn’t really watch any arty stuff. We also traveled around the UK on projects and that was a lot of fun. AAP: How long have you been a photographer?12 years.AAP: Do you remember your first shot? What was it?They were pictures of cannel boats, in England I used to live near a cannel.AAP: What or who inspires you?Well Edward Hooper is a great inspiration. His images feel like movie scenes, they have such a powerful mood to them. Artist have always inspired me. William Eggleston is someone would really inspires me.AAP: How could you describe your style?As simple and bold. I’m a huge fan of bold colors and like to keep things simple.AAP: What kind of gear do you use? Camera, lens, digital, film?I use the Canon 5D Mark II and my iPhone 4, it’s great, you can take it anywhere and pepole aren’t imitated by it, you look like a tourist. The iPhone has a look, in 20 years when we have images that are so sharp that you can’t tell if your looking at something real. Images from are primitive cameras and mobile devices will be called “Retro” they come with a time stamp, the actually medium is a time capsule. It’s not about the quality, it’s about the message, that will last longer.AAP: Do you spend a lot of time editing your images?I’m not a fan of editing, i’ve never liked it, only the darkroom.AAP: Favorite(s) photographer(s)?Steve McCurry, Willam Eggleston, Dorothea Lange. AAP: What advice would you give a young photographer?Go out and find your own vision, and all this likes and things mean nothing. It’s hard putting yourself out there, and pepole don’t usually respond. You start to want to appeal to others and worry if you posting to much. Do it for yourself, who cares about all this fame? Who knows if these websites will be around, this data? One day, you might be recognized.AAP: What mistake should a young photographer avoid?Don’t point fingers, point them at yourself first. Don’t blame others, really look at yourself first.AAP: An idea, a sentence, a project you would like to share?My work is constantly changing and I like that. To keep evolving you need to keep changing.AAP: Your best memory has a photographer?Working on location in India, working in a old Indian palace, documenting Indian folk singers. It’s an experience the kings once enjoyed.AAP: Your worst souvenir has a photographer?A broken camera lens.AAP: If you could have taken the photographs of someone else who would it be?Steve McCurry he has my dream jobAAP: Anything else you would like to share?I’m into film making now, really want to be a DOP or camera operator. Currently i’m based in Toronto.
Homai Vyarawalla
India
1913 | † 2012
Homai Vyarawalla, India's first woman photojournalist, is best known for documenting the country's transition from a British colony to a newly independent nation. Vyarawalla was born on 9 December 1913 in the western Indian state of Gujarat. Her family belonged to India's tiny but influential Parsi community. She spent much of her childhood on the move because her father was an actor in a travelling theatre group. But the family soon moved to Mumbai (then Bombay), where she attended the JJ School of Art. She was in college when she met Manekshaw Vyarawalla, a freelance photographer, who she would later marry. It was he who introduced her to photography. She received her first assignment - to photograph a picnic - while she was still in college. It was published by a local newspaper, and soon she started to pick up more freelance assignments. Vyarawalla began to draw more attention after her photographs of life in Mumbai were published in The Illustrated Weekly of India magazine. The Vyarawallas moved to Delhi in 1942 after they were hired to work as photographers for the British Information Service. Homai Vyarawalla, one of few female photojournalists working at the time in Delhi, was often seen cycling through the capital with her camera strapped to her back. She took her most iconic images, however, after India became independent - from the departure of the British from India, to the funerals of Mahatma Gandhi and former prime minister Jawaharlal Nehru. Homai Vyarawalla also photographed most prominent independence leaders. But she said in an interview that her biggest regret was that she missed photographing the meeting where Mahatma Gandhi was assassinated. She was on her way to attend it when her husband called her back for some other work. Her work also includes candid, close-up photographs of celebrities and dignitaries who visited India in the years following independence, including China's first prime minister Zhou Enlai, Vietnamese leader Ho Chi Minh, Queen Elizabeth II and US President John F Kennedy. Vyarawalla photographed many famous people but Mr Nehru figures most prominently in her work as her "favourite subject". She said in an interview that when Mr Nehru died she "cried, hiding my face from other photographers". Ms Vyarawalla clicked her last picture in 1970, retiring after a four-decade-long career. She left Delhi after her husband died in 1969 and moved to Gujarat. She was awarded India's second highest civilian honour, the Padma Vibhushan, in 2011. She died on 16 January 2012 at the age of 92.Source: BBC
Alex Strohl
France
1989
Alex Strohl is a French photographer and author, best known for his landscape and outdoor photography. Strohl is based in Whitefish, Montana. In 2018, XXLPIX ranked him in 12th position in the "TOP100 photographers on the web" list (highest new entry). He authored a book named Alternative Living, published by Blurb in 2015. His works has been featured in publications and magazines such as Forbes, BuzzFeed, Vanity Fair, and Gentleman's Journal.Source: Wikipedia For more than a decade, photographer and entrepreneur Alex Strohl has pioneered the visual style of the outdoor industry. A renown force across all of his business pursuits, Strohl’s marketing campaigns garner clients audiences in the millions while his critically-acclaimed photography workshops pass down unrivaled experience and insight to tens of thousands of aspiring amateurs. Lauded by the likes of National Geographic, Outside Magazine, and Gentlemen’s Journal, Strohl’s influence on the direction of outdoor media is unparalleled. Drawing inspiration from the wildest alpine environments, Strohl is as comfortable in the northern Rocky Mountains of his home in Whitefish, Montana, as he is diving off the shores of icy North Atlantic archipelagos. The result is an immersive visual experience that blurs the boundaries of life and work, and of humans and nature. His timeless style and eye for subtle authentic moments transcends industries from local ski brands to the world’s foremost watchmakers. Alex is based in Whitefish, Montana—but spends the vast majority of his time on the road with his life partner Andrea Dabene and their newly born daughter Mia. He is a Canon USA Creator, 66°North Ambassador, and a Vuarnet Fellow.Source: www.alexstrohl.com
Pieter Hugo
South Africa
1976
Pieter Hugo was born 1976 and grew up in Cape Town, South Africa. He is a South African photographer who primarily works in portraiture and whose work engages with both documentary and art traditions with a focus on African communities. Hugo is self-taught, having picked up a camera aged 10. He remembers the first image he printed, which was a homeless person in Johannes. After working in the film industry in Cape Town, Pieter Hugo spent a two-year Residency at Fabrica, Treviso, Italy. Hugo has called himself a political-with-a-small-p photographer... it's hard not to be as soon as you pick up a camera in South Africa'. He believes that "the power of photography is inherently voyeuristic but I want that desire to look to be confronted." He also states that he is "deeply suspicious of the power of photography." Early on in his career he noticed that, "he often found himself being critically scrutinized by the subject he was photographing. It was then that he decided to switch to a larger and more cumbersome format of photography, one that would require negotiating consent and dialogue with the person being photographed - a more sedate and contemplative approach." He is known to use a Hasselblad camera and regularly shoots in the 4x5 format. His influences range from South African photojournalist David Goldblatt to Boris Mikhailov. However, his work reacts against 'the culture of realism that defined South African photography in the struggle years.' Hugo's first major photo collection Looking Aside consisted of a collection of portraits of people "whose appearance makes us look aside", his subjects including the blind, people with albinism, the aged, his family and himself. Explaining his interest in the marginal he has said, "My homeland is Africa, but I'm white. I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." This was followed by Rwanda 2004: Vestiges of a Genocide which the Rwanda Genocide Institute describes as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered." His most recognized work is the series called The Hyena & Other Men and which was published as a monograph. It has received a great deal of attention. Hugo won first prize in the Portraits section of the World Press Photo 2005 for a portrait of a man with a hyena. In 2007, Hugo received the Standard Bank Young Artist Award 07. Hugo was also working on a series of photographs called Messina/Mussina that were taken in the town of Musina on the border between Zimbabwe and South Africa and which was published as a monograph. At the time Colors magazine asked Hugo to work on an AIDS story and he was fascinated by the marginal aspect of the town. This was followed by a return to Nigeria with Nollywood, which consists of pictures of the Nigerian film industry. Permanent Error followed in 2011 where Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. Sean O'Toole writes "if Nollywood was playfully over-the-top, a smart riposte to accusations of freakishness and racism leveled at his photography..., Permanent Error marks Hugo’s return to a less self-reflexive mode of practice." In 2011 Hugo collaborated with Michel Cleary and co-directed the video of South African producer/DJ Spoek Mathambo's cover version of Joy Division's She's Lost Control, the fourth single from his album Mshini Wam. Commissioned by Italian luxury label Bottega Veneta, Hugo photographed models Amanda Murphy and Mark Cox for the brand’s spring/summer 2014 campaign, with the images shot in a wood in New Jersey. In the Spring of 2014, Hugo was commissioned by Creative Court to go to Rwanda and capture stories of forgiveness as a part of Creative Court's project Rwanda 20 Years: Portraits of Forgiveness. The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition Post-Conflict which was curated by Bradley McCallum, Artist in Residence for the Coalition for the International Criminal Court. Flat Noodle Soup (2016) chronicles Hugo's lengthy engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and transnational. La Cucaracha is a 2019 body of work made during four trips to Mexico over a two-year period. The photographic series explores Hugo's perception of the flamboyant and violent environment of Mexico with overt art historical references to the nation's visual canon of pre-colonial customs and revolutionary ideology.Source: Wikipedia Between 2006 and 2013, Pieter Hugo worked on a project that he called Kin. This deals with home, proximity, identification and a sense of belonging – something that, in South Africa, he has always experienced as being critical and riddled with conflict: How can one live in this country, which only shed its colonial heritage relatively recently, and which is plagued by racism and a growing chasm between rich and poor? Hugo shot photos at home, in townships and at historical sites, taking portraits of his pregnant wife, of domestic servants and of homeless people. The calm and clearly composed shots show beauty and ugliness, wealth and poverty, private and public, historical and topical. Without either idealising or dramatizing the subject matter, they paint a portrait of the complex society in South Africa today. This is because any notion of harmony in the “Rainbow Nation” is wishful thinking. Even twenty years after the end of apartheid, black and white South Africans are still very much divided. In the series of 94 platinum prints There Is A Place in Hell for Me and My Friends (2011-2012), Pieter Hugo explores the supposed differences between skin colours. To do so, he took portraits of himself and South African friends. The close-ups, generally in the form of frontal head and shoulder portraits, were digitally processed afterwards. The image manipulation, whereby the colour channels were translated into grey tones, emphasise the pigmentation of the skin, using UV irradiation to render visible skin damage and small blood vessels directly beneath the skin. The results are quite astounding: on these photographs, all people are coloured. There is no longer a difference between “white” and “black” skin, but rather a variety of individual shades. The portraits show the powerful presence of each individual and, at the same time, the fragility of all people and the softness and utter vulnerability of their outer shell. With his various photo series, Pieter Hugo has put together an impressive body of work in the space of just a few years. Through this intense perception of corporeality, he captures the complexity and inconsistency of society. Constants in his work include seriousness, neutrality and an underlying respect for his protagonists, whose dignity always remains intact. In this regard, his works are comparable with the monumental portrait works of August Sanders, who created a contemporary picture of the Weimar Republic with his large-scale cycle “Menschen des 20. Jahrhunderts” (People of the 20th Century).Source: Priska Pasquer
William Castellana
United States
1968
William Castellana is an award-winning photographer whose images have been published internationally in periodicals such as Silvershotz (The International Journal of Contemporary Photography), Rangefinder, Creative Quarterly (The Journal of Art & Design), Newsweek, Time, New York, and others. His photographs reside in the permanent collections of over 40 museums in the US including the Hood Museum of Art, Museum of the City of New York, Museum of Modern Art Library, Yale University Library, New Britain Museum of American Art, Southeast Museum of Photography, and the Hunter Museum of American Art. About the Series Street photography, in terms of the "unposed," is a practice that serves the compelling need to distill the ebb and flow of visually complex interactions into static form - forever fixed and with meaning. It is this desire to understand more deeply the rhythms of humanity that takes me to the streets in search of clarity. In their simplest sense, the images in this series form a social document of a people and a place; namely, a sect of Hasidic Jews known as the Satmars. This sect of Hasidic Jews was founded in Satu Mare, Romania by Rabbi Joel Teitelbaum in the early 20th century. After WWII, Teitelbaum settled in Williamsburg, Brooklyn to lay the groundwork for a religious ideology that would launch one of the largest Hasidic movements in the world. Since Teitelbaum's death, the Satmar community has grown exponentially and continues to thrive economically and spiritually through closely observed traditions and social mechanisms. Between the fall of 2013 and 2014, I set out to photograph my neighbors in the one-half square mile area below Division Avenue, which demarcates the religious from the secular communities of Williamsburg, Brooklyn. The photographs in this book are constrained to the "neighborhood view," since my outsider status made access to a more privileged look impossible. As an outsider, what I witnessed through my camera during that period was forever new and unique compared to my everyday routine and what the rest of the city's inhabitants were pulsing to. For me, street photography is about the preservation of time and place - a kind of poetry that distills both in equal measure.
Carolyn Moore
United States
Carolyn Moore is a fourth generation Californian, raised in a family of artists and outdoor enthusiasts. Her love of nature is evident in her artwork having spent much of her formative years hiking, swimming, backpacking and enjoying the vast diversity in nature. Equally adept at both music and art, her formal education fell to music. Degrees were completed at University of California Berkeley, University of Oslo and Conservatory of Music, Norway. After a fulfilling and successful career of performance and teaching of flute, percussion and special needs music, her focus since 2005 has turned to visual expression through photography. Artistic inspiration came early in life when presented with paint brushes and a brownie box camera by her artist father at the age of 7. Mostly self taught, Carolyn has experimented with many photographic techniques - everything from digital, to film based using plastic or pinhole cameras and handmade or lensless processes. Since 2007 Carolyn has received multiple photographic honors and awards and has been juried into several exhibits at the Soho Photo Gallery, New York. Carolyn has been published in Color Magazine and has participated in multiple solo and collective exhibits both in the United States and Europe. She is currently a member of the Center for Photographic Art and proudly serves as Steering Committee Chair for Image Makers Photographers of Monterey. My Heart Exposed Photography to me, represents a composite of my personal feelings, emotions, values and experiences expressed on a canvas. It is as if the artwork is an open window where artist and viewer peer one to the other in a silent exchange. Images from “My Heart Exposed”, Volume 1, are created in a process that includes entering a meditative state where feelings, intuition and curiosity drive choices made in an experimental photographic process. This process lends an element of unpredictability, and as a result parameters are set for embracing surprises and allowing the image to evolve. The decisions I make are influenced by my innermost feelings and thus, each image presents a visually poetic reflection of my unique story. My personal story is made all the more poignant by the recent loss of family and intense emotional turmoil of the past year. This chaotic and complicated year of love, loss and strife made maintaining a sense of self a major challenge. I am often reminded of time spent in nature with lost family members, and I cherish the thought of loved one’s hands guiding me in a shared love of nature and an expression that uses plants as an artistic voice. I invite viewers to draw on their own experiences and allow their hearts to embark on a journey of reflection and discovery within each image. “My Heart Exposed”, Volume 1 are sunshine exposed Lumens with hand painted cyanotype on expired photographic paper. While developing this technique, I have experimented with different types of photographic paper, timing of exposure and elements that change the chemical reaction between plants and paper. Images evolve and change during the development process and I present captures of those stages in unaltered true color. While some images are fixed and will remain stable, others will continue to evolve and eventually dissipate altogether.
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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.
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry